Top Ten Theatre Productions in 2015 - Musicals & Cabaret

It was an outstanding year for musicals and cabaret in 2015. From big touring productions such as Les Miserables and Wicked to the continued excellence of WAAPA's world class music theatre course there have been many tremendous shows. This has been supported by independent companies such as Stray Cats Theatre Company and Fresh Bred Productions who are mounting big productions catering to different audiences. Black Swan even got in on the act this year with the rock musical Next to Normal and the Regal Theatre continues to host a range of productions.

This made finalising the list quite difficult but here is my Top Ten for 2015:

1. Urinetown (WAAPA)
I adored this show. From the moment it opened the satirical tone had me in its clutches and the ferocious choreography sealed the deal. Outstanding.

"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."

2. Les Miserables (Crown Theatre)

What more can be said about the fabulous Les Mis? Simon Gleeson and Hayden Tee headline a stellar cast, half of its number including Gleeson having graduated from WAAPA. 

"For rousing songs and sheer theatrical spectacle Les Miserables is hard to beat and this production has quality in every department."

3. Legally Blonde (WAAPA)

Such a colourful, energetic and joyous production, this showcased a fabulous graduating class to full effect.

"WAAPA’s mid-year musical theatre production has become a highlight of the Perth theatre calendar as they throw their considerable talent and resources – performers, musicians, set designers, costume designers, production department and many others into crafting a professional level experience both for its students and the audience. The results here, as with last year’s West Side Story, are impressive and wildly entertaining."

4. Next To Normal (Black Swan State Theatre Company)

I finally discovered that there is an orchestra pit at the Heath Ledger Theatre. And that Rachael Beck is a star. 

"Next to Normal stands out for the fact that its subject matter is challenging and under-serviced, certainly in musical theatre form. It demands that the acting from the performers is as good, if not better, than the singing requirements. The cast here deliver in spades with a potent mix of excellent songs, a great score, and a fully formed narrative arc for its central character that is as harrowing as it is gut wrenching."

5. Music Theatre Showstoppers (WAAPA)

The cast of Les Miserables doing a concert singing some of their favourite musical theatre songs? This only confirmed that the talent of that cast, top to bottom, is outstanding in a wonderfully entertaining evening. 

"Take the cast of Les Miserables, half of whom are WAAPA graduates; their musical director Geoffrey Castles along with four other members of the orchestra; throw in a little star power with event patron Ben Elton; add the enthusiasm and organisational skills of Eponine herself (Kerrie Anne Greenland) and you end up with what can only be described as a spectacular fundraising concert at the Geoff Gibbs Theatre. The sheer magnitude of talent on display was breathtaking."

6. Assassins (Midnite Youth Theatre Company)

Staged in the intimate studio space at the Subiaco Arts Centre I loved the full tilt approach to this most audacious of concepts for a musical. 

"What I loved about this production is that all involved attacked it with total commitment and absolute ferocity. There is incredible intensity in the darker hued characters that is matched by some standout comic performances as this rogues’ gallery improbably comes together, ultimately, in a wonderfully written sequence, to convince one of their confreres to commit perhaps the most famous assassination in American history."

7. Sweeney Todd: The Demon Barber of Fleet Street (Fresh Bred Productions)

Another Sondheim and this one was beautifully sung and played at the palatial Joy Shepherd Performing Arts Centre. 

"... this is a fine production of a tremendous piece of musical theatre. I understand months of preparation and rehearsal have gone into making this show a reality and it shows. Congratulations to all involved on taking a risk with such a huge undertaking for independent theatre and pulling it off."

8. Point and Shoot: Farewell Show (Holland St Productions)

After touring the production on the eastern seaboard to further acclaim, this farewell show before heading to Brighton was so tightly executed that it couldn't help but make its way to this list.

"It would be fair to say that after witnessing the show for a second time that it is my favourite piece of original content generated out of Perth (in all formats) for quite some time."

9. Chitty Chitty Bang Bang (Stray Cats Theatre & Mandurah Performing Arts Centre)

Completing a trilogy of big family friendly musicals after Oliver! and Mary Poppins this was an entertaining and fun show that exhibits all of director Karen Francis' signature traits - crowd pleasing, big casts, visually sumptuous and well performed.

"If one of the roles of community theatre is to engage with and entertain its local residents then these productions are among the finest examples we have in the state. Usually a run will only be four to five shows over one weekend but they are always well attended and sit comfortably in the spacious Performing Arts Centre."

10. Spring Awakening (Fresh Bred Productions)

Immediately after the completion of the show I went home and bought the original cast recording which has been on high rotation ever since. An outstanding collection of songs well sung in one of the most surprising adaptations to a rock musical ever.

"Matching the musicians was the vocal talent on display. This really was a strong cast from a singing perspective – the featured vocalists excelled and were given tremendous support from the ensemble."

Female Performer of the Year - Rachael Beck

Not only was Beck's singing excellent, it was her acting that really impressed in Next To Normal. She commanded the stage throughout but worked so well with the rest of the cast to bring a complex arc to life.

Male Performers of the Year - Simon Gleeson

A towering performance in the role of Jean Valjean and his Bring Him Home almost had me in tears. Again. Damn it!

Special Mentions:

Elethea Sartorelli - Excelled as Mrs Lovett in Sweeney Todd with Cockney accent in place, and a real energy to her performance that threatened to steal the show.

Megan Kozak - A powerhouse turn in Urinetown was matched by an equally impressive performance as Brooke in Legally Blonde. 

Jacob Dibb - Another performance from Urinetown that was compelling. Dibb showcased a terrific voice and played Bobby Strong with a straight ahead earnestness that worked so well.

Madeline Crofts - A standout in Spring Awakening as Wendla Bergmann, Crofts also popped up as Johanna in Sweeney Todd and perhaps most impressively gave a hilarious and feisty performance in the original musical How We Ruined MacArthur's Markers.  

Kate Thomas - Thomas sank her teeth into the star role of Elle Woods in Legally Blonde. She looked fantastic in Elle's signature outfits and sang beautifully in an assured performance. 

That's it for 2015. Hope everyone had a great Christmas and I look forward to seeing you all at the theatre in the new year! 

Sweeney Todd: The Demon Barber of Fleet Street - Fresh Bred Productions (31 October 2015)

What a way to spend Halloween night – attending a production dripped in revenge and obsession where a “demon barber” slits the throat of unsuspecting customers who end up being the filler for meat pies! Of course, this gruesome tale is blessed by the sublime music and lyrical dexterity of Stephen Sondheim with a dark-hued book by Hugh Wheeler.  

My first impressions as I wandered into the venue were, “what a spectacular theatre!” quickly followed by “what a cast!” as I looked through the programme. Indeed, St. Hilda’s Joy Shepherd Performing Arts Centre is a wonderfully appointed 940 seat theatre with all the mod cons – large performance space, orchestra pit, immaculate seating, all the high-tech gadgets, and beautiful lobby and facilities. It was impressive in every way.

As is the cast director Craig Griffen has assembled. I was immediately encouraged on seeing Ian Cross’s name - the standout in a recent production of Oklahoma! - in the lead role. His Jud from that musical was also a dark, tormented character whom he played with great intensity and menace. He excels here with another tightly coiled turn as the eponymous character showcasing a powerful voice and bringing a fierce energy and gruffness to the role. This is occasionally leavened by a softer approach in regard to Todd’s daughter, Johanna (Madeline Crofts), and a vein of jet black humour with his landlady and partner in crime, Mrs. Lovett (Elethea Sartorelli).

Sartorelli, who won a Finley Award last year for a supporting role in the musical Xanadu, is the perfect foil to Cross. Her Mrs. Lovett is cheekily amoral yet caring when it comes to young Tobias (Pete Martis). She sings beautifully, Cockney accent and all, and brings so much black humour to proceedings. Cross and Sartorelli work well together, the first act closer, A Little Priest, a highlight as they gleefully cavort while singing the gloriously mischievous song replete with trademark Sondheim wit and wordplay.

Michael MacCuish, who was good in a non-singing role in Spring Awakening, reveals a tremendous voice as Anthony, the sweetness of which works well in counterpoint to Cross. I enjoyed the sincerity he gives the love-struck sailor, another contrast to all the duplicity swirling around the character. Crofts displays yet another standout voice with Green Finch and Linnet Bird an early highlight as she stands perched upon a step ladder like a beautiful, fragile bird herself. Again, another pairing that works well with Kiss Me a memorable moment that is reprised in snippets throughout.

Martis plays Tobias with suitable naivety until the character stumbles upon the truth leading to an escalation of events. His Not While I’m Around with Sartorelli is quite effecting as the bleak subtext of the moment cuts right through the sweetness of the ballad. This is where Sondheim’s genius lies – another gorgeous song, Johanna, is sung so earnestly while Sweeney is dispatching men with his razor. The jarring contrast of lyrics and music with the brutal actions onstage makes such sequences layered and compelling.

It’s fair to say every character is well cast with singing ability at the forefront. Kimberley Harris makes for an ultimately tragic Beggar Woman who gives some cackling cheek as she intersects with various characters along the journey. Another strong voice, her warning cries in song become increasingly desperate as events spiral out of control. 

Cal Silberstein is carving out quite a niche with memorable, comic inspired characters. Here it is with Adolfo Pirelli whom Todd bests in a shaving competition and ultimately condemns to the meat grinder of the bakehouse. There’s a mischievous attitude about Silberstein’s performances that make them stand out no matter how brief.

Rounding out the principal cast is Simon Brett who gives Judge Turpin a creepy, obsessive air of his own and has a showpiece moment of self-flagellation in Johanna: Mea Culpa; Daniel Kirkby as Beadle Bamford who joins in the fun with Parlor Songs on the “partly singed harmonium”; while Thomas Owen is briefly featured as a doctor in the asylum where Judge Turpin hides his beloved Johanna whom he intends to marry despite her being considerably younger and his ward. There really are some disturbing aspects to this story beyond the murders!

The Ensemble is also in very fine voice as they reprise The Ballad of Sweeney Todd throughout and act as silent witnesses to events or incidental characters such as the asylum inmates. They are: Stee Andrews, Rebecca Cole, Jordan Dunne, Olivia Everett, Jackson Griggs, Crystal Haig, Niamh Nichols, Emily Semple, Shannon Whyte, Sam Widenbar, and Lauren Kingham.

Then there is the nine piece orchestra under conductor Joshua James Webb who play the challenging and exceptional score extremely well. From the opening Organ Prelude they are in fine form and the sound balance is spot on between performers and musicians. Indeed the sound design is excellent for such a large venue. I overheard Webb’s mentor talking to the director after the show and he was effusive in his praise of the musical quality. There is no doubt this is a superbly sung and played production. Well done Simone Bishop, Ben Hogan, Tadgh Pedder, Krista Low, Andrea Sitas, Blake Howieson, Laura Halligan, Tahlia Denn, and Ben Albert.

To the staging and the set is quite sparse with a lot of use of smoke and haze effects. This gives great atmosphere with the lighting often used to cast the performers in partial shadow to add to the eerie tone. I did have some quibbles – the use of scene locations – for example ‘Mrs. Lovett’s Pie Shop’ or ‘Sweeney Todd’s Tonsorial Parlor’ on large white sheets that descended into place tended to undercut the unsettling tone as they felt too obvious. This was also the case with the ‘19th Century London’ that unfurled at the start of the show to some mirth. These struck me as redundant as the spaces were clearly delineated by the props and the performances themselves.

It also felt a curious choice when the impressive lighting array was lowered to just above head height at the start of the show for one of the ensemble to literally ‘plug things in’ after which it would rise and descend for various scenes. This was a little distracting as if too eager to show off the technology but after a while settled down to a more traditional configuration.

In all, this is a fine production of a tremendous piece of musical theatre. I understand months of preparation and rehearsal have gone into making this show a reality and it shows. Congratulations to all involved on taking a risk with such a huge undertaking for independent theatre and pulling it off.

Sweeney Todd: The Demon Barber of Fleet Street is directed by Craig Griffen with Musical Direction by Joshua James Webb from a Book by Hugh Wheeler; Music and Lyrics by Stephen Sondheim and is on at the Joy Shepherd Performing Arts Centre in Mosman Park next Friday and Saturday the 6-7th November. 

Spring Awakening - Fresh Bred Productions (10 April 2015)

Hot on the heels of the performance of Frank Wedekind’s 19^th century play at Curtin University last month comes the Tony Award winning musical adaptation, presented by Fresh Bred Productions. Fresh Bred hit the scene in February last year with the Patrick Marber play Closer which was followed by their first musical, The Last Five Years, in August. They appear to have found a home at UWA’s Dolphin Theatre and a niche in mounting ambitious musical theatre productions with Sweeney Todd up next. Even Closer betrayed their intentions with an original score composed by regular musical collaborator Kohan Van Sambeeck.

Having seen the source material only a month ago certainly helped my understanding of the story but what struck me most was this: how audacious it was to take a play written in 1891 and turn it into a rock musical. It is testament to the thematic potency of the original even though some of the darkest aspects have been toned down for the different format. There’s still plenty of honest and uncomfortable examination of teenage sexual awakening in its various forms married to a superb set of songs.

Here lies the strength of this production. The orchestra, led by Musical Director Joshua James Webb, was terrific throughout. The music by Duncan Sheik is an impressive yet eclectic mix of strings and more rock oriented elements – electric guitars and drums - with Webb on keyboards. This collection of musicians certainly knew how to rock when required – The Bitch of Living and Totally Fucked for example – but was perhaps even sharper when providing the mood and atmosphere to numbers like Whispering and Touch Me. Situated at the back of stage behind the gauze stripped ‘trees’ representing the German woods, they were tight and focussed with the only blemish a false start at the beginning of the second act but that appeared to be related to a backstage issue. Well played Van Sambeeck (percussion), Hanna Lee-Smith (Violin/Guitar), Cristina Filgueira (Viola), Beren Scott (Cello/Violin), Tim Perren (Electric Bass), Ben Griffith (Guitar) and Webb (Piano/Conductor).

Matching the musicians was the vocal talent on display. This really was a strong cast from a singing perspective – the featured vocalists excelled and were given tremendous support from the ensemble. I had not come across Madeline Crofts (Wendla) before but she set the tone from the beginning with Mama Who Bore Me and sang beautifully throughout with Whispering a highlight. Finn Alexander (Melchior) unfortunately had a dead microphone for the opening sequences which cruelled All That’s Known but once that technical problem was rectified he too showcased a fine voice, notably in songs like Touch Me. Both impressed with their acting skills especially in two pivotal scenes – the beating of Wendla with the switch and the now more ambiguous sexual congress that ends the first act. 

Cal Silberstein played Moritz with an exuberance that marked the character’s incarnation here as most recognisably a musical theatre construct as distinct from the more sombre version in the original play. He did it well in the first act driving a lot of the comedic energy but this gave way to darker hues at the end of the first (And Then There Were None) and into the second that provided a nice arc. Kimberley Harris, another fine singer, was an almost ever present observer as Ilse with a featured scene with Silberstein in Don’t Do Sadness/Blue Wind. The musical started with the teenagers seemingly listening to Ilse intently and that configuration was reprised at the end as if she was relating the tale just witnessed. Indeed the whole company was almost always in sight with the ensemble in the wings and actively watching when not in a scene. The Ilse character also appeared to take on aspects of the Masked Man who has been otherwise excised from the adaptation.

Naomi Denny (Martha) had a notable moment with The Dark I Know Well and the effective welt makeup on her shoulder elicited an appropriate audience response when revealed before that song. Sven Ironside made for a charismatic, mischievous Hanschen and his work with Andrew Longo (Ernst), particularly during The Word of Your Body (Reprise) was playful but hauntingly beautiful as well. I really enjoyed the acting work of Michael MacCuish who added real authority and presence in the ‘Adult Men’ roles, and Nat Burbage played a mix of stern adult female authority figures and the more emotional mother roles.

The set harked back to the setting of the source material with the woods and classroom represented in minimalist style before we switch to the Reformatory and graveyard in the second act. There was an interesting use of glow sticks during the raucous Totally Fucked which gave a real sense of energy but jarred a little stylistically. The cast was buoyant during The Song of Purple Summer and final bows. Having been in rehearsals since November the hard work and preparation was evident in particularly the musical and vocal quality on display.  

Adapted from the Frank Wedekind play with Book and Lyrics by Steven Sater and Music by Duncan Sheik, Spring Awakening is directed by Craig Griffen with Musical Direction by Joshua James Webb. It stars Finn Alexander, Cal Silberstein, Madeline Crofts, Nat Burbage, Michael MacCuish, Pete Martis, Daniel Kirkby, Sven Ironside, Andrew Longo, Shanice Palfrey, Olivia Everett, Naomi Denny and Kimberley Harris. There are two more shows at UWA’s Dolphin Theatre, 17-18 April.

Top Ten Theatre Productions in 2014 - Plays

If this year’s musicals had a large number of comedies then the plays went the exact opposite direction mining a much darker vein – incest, revenge, torture, the horrors of war, school shootings, suicide, mental illness. It was a veritable line-up of misery but never anything less than compelling theatre if somewhat confronting. The Blue Room had a very strong year as did the WAAPA third years. Dramafest was a success and community theatre continues to throw up excellent performances and a diverse range of shows. I was also impressed with the work coming out of Curtin and Murdoch Universities that were both very active in 2014.

To the Top Ten:

1. Great Expectations (WAAPA)

While the Dickens classic certainly has its dark moments this was such an entertaining production with the use of the revolving chorus a wonderful device. All you need to know about how well it was received was writ large in the grin on Andrew Lewis’ face in the lobby afterwards.

"If West Side Story is the crowning achievement of the musical theatre class in the red corner then the acting cohort in the blue corner have replied in stunning fashion with this production. To extend the boxing analogy, I had a ringside seat, front row centre, at the Geoff Gibbs Theatre. And what a view it was - a brilliant adaptation of the great novel, inventively staged and directed, with superb performances across the board."

2. Festen (WAAPA)

A gut punch of a play that was a majestic horror story that made me squirm and was utterly riveting. Contains the line of the year – “Because that’s all you were good for” – that had me gasping at the monstrosity of it all. 

"The performances are superb and all the more laudable because a more reprehensible bunch of characters you will not find – misogynists, racists, rapists – who are either emotionally brittle or utterly callous. They may not be likeable but it is a fascinating exploration of entrenched values within a family and how they infect each generation."

3. The Pillowman (Endless Theatre Company)

The introduction to Perth of this Irish flavoured production company couldn’t have been more impressive with this jet black exploration of the creative process itself.

"But most of all, surprisingly, fabulously, a play about stories, about writing and what it means to be a writer. About taking responsibility for what is written. About where stories come from, even the dark ones – especially the dark ones. About legacy. For what is a writer without their stories?"

4. Under Any Old Gum Tree (Dramafest)

A searing 50 minute monologue about the horrors of the First World War, stunningly delivered.

"Lastly, and fittingly, the final production of Dramafest was Noel O’Neill’s superb Under Any Old Gum Tree. Beautifully written and brilliantly performed by Kieran Garvey (with Rex Gray in support), this was powerful, moving, insightful, occasionally funny and a blistering exploration of the devastation the Great War caused on those who survived No Man’s Land."

5. Concussion (Ellandar Productions)

Subversively funny and self-aware, this was another jet black drama that had an excellent script that was embraced by a very talented cast.

"It’s deliciously clever, subversive and funny. Even the somewhat overwrought shouting match at the end I took to be a poke at the expectations usually contained within this type of tale. As a writer myself this was absolutely in my wheelhouse and I loved the cheekiness and audacity of the script."

6. The Standover Man (Subiaco Arts Centre)

Starting quite obliquely all the diverse strands slowly coalesce into a powerful narrative in this unusual underworld tale full of richly drawn characters.

"I couldn't have been more impressed. This is a beautifully written, performed and staged play. I am going to be a little oblique about the story because the writing is excellent and the play unfolds with great skill to reveal its secrets and mysteries. That journey really needs to be experienced first hand."

7. Closer (Fresh Bred Productions)

The pungent Marber dialogue is delivered with relish in this sexually charged production that doesn’t pull any punches.

"Take a razor sharp script, four talented and committed actors, a fresh approach from a first time director then add an original score played live and you end up with this excellent production of Patrick Marber's Closer." 

8. Punk Rock (WA Youth Theatre Company)

The young cast plunge into this dark, unsettling tale with impressive skill and energy. The sense of play in the performances left the stage in a state of total disarray, about the same as my nerves during the explosive climax.

"What unfolded at the Subiaco Arts Centre studio was a slow burn production that was shocking, uncomfortable and powerful. It elicited several visceral responses from the audience as it built to a brutal climax and then lingered in the aftermath to let us all breathe again. That the cast was predominantly made up of young teenagers was remarkable."

9. Giving Up The Ghosts (The Blue Room Theatre)

A carefully measured two-hander as two damaged souls find themselves confronting the unthinkable as they attempt to escape their ghosts.

"I said to Sarah I was intrigued how she was going to ‘stick the landing’ as it had to be handled sensitively given the undeniably dark subject matter but truthful to the characters that had been so expertly crafted and rendered. She and the actors, Georgia King and Paul Grabovac, thread that needle beautifully to bring a powerful piece of theatre to conclusion as the lights fade on these two damaged souls."

10. This Is Not A Love Song (The Blue Room Theatre)

This is an impressive writing debut by comedian Greg Fleet who lends a dry stage presence in this mature rumination about relationships and loss. I even knew pretty much all of the songs!

"I really enjoyed this show – the writing and acting is very good, the songs well delivered (at times I felt like clapping at the end of a number though This is Also Not a Musical) and the humour is genuinely funny amongst the underlying tone of regret."

Female Performer of the Year - Georgia King

A very subtle performance playing the agitated woman in Giving Up The Ghosts with a terrible purpose. I especially liked how well calibrated the physical interactions - or lack of them - were in giving insight into the character.

Male Performer of the Year - Kieran Garvey

Simply a towering performance playing a man damaged by the horrors of war in Under Any Old Gum Tree. Garvey grabs you by the throat from the very first beat and doesn't let up. Heartbreaking, devastating, superb. 

Special Mentions:

Beth Tremlett - Such an assured performance in a challenging role (Gish in Bremen Coffee) where the arc goes from battered housewife to ruthless murderer. Skillfully handled.

Luke Binetti - Only 17 years old, Binetti moves from good-natured nerd to something far more deadly in Punk Rock. "For that transformation and its consequences to be handled so convincingly is a testament to Binetti’s skill."

Jonny Hawkins - Devastating as the despicable male patriarch in Festen, Hawkins then changed gears to inhabit the lovable Joe Gargery in Great Expectations with equal skill. 

Adam Sollis - Front and centre in a thoroughly likable turn as Pip in Great Expectations but also prominent in Realism playing a surly cat and telemarketer with cerebral palsy. 

Scott McArdle - The driving force at Murdoch, deservedly winning Theatre Student of the Year, McArdle not only did lighting design, directing, acting, but notably is an excellent and prolific young writer whose three original plays and one musical I saw in 2014 were all high quality.

Again, thank you to all the actors, crew, key creatives and support staff on stage and behind the scenes who made 2014 such an excellent year for theatre in Perth. I'm sure 2015 will be equally stimulating!

The Last Five Years - Fresh Bred Productions (15 August 2014)

Ah, yes, The Last Five Years, the Memento of Musicals where a couple fall in then out of love; the man telling his story in normal chronological order, the woman is reverse chronological order with their timelines only crossing in the middle at their wedding. Sammy Jankis would be proud.

In honour of this conceit let me introduce our reviewers for this production:

A struggling screenwriter in a Hicksville town who has dreams of hitting the big time, called Richar—um, Jeremy; and

An aspiring theatre critic, the author of a little seen blog, who hopes to one day write for The West Australian Arts liftout section, Richar—um, Rachel.

Richar—um, Rachel: It’s after the show and I’m outside chatting to the director Craig Griffen who is clutching what promises to be the first of many alcoholic beverages. He is relieved but effusive in his comments. I get the lowdown on the wardrobe malfunction that causes an extended musical interlude before the performer reappears to the delighted applause of a generous audience. The biggest nugget of information (apart from the one’s I can’t tell you!) is that Craig deliberately chose to have the characters interact in certain moments (other than the wedding) to try and move away from a totally stand and sing style.

Richar—um, Jeremy: I realise I have made a rookie mistake the moment I sit down. Front row centre is my favoured spot for the theatre but at the Dolphin Theatre the front row is right up against a (highly) raised stage. I am peering up at the performers and, at one stage, when Eimear Foley sits on the edge of that stage she is only inches away. With her being so close and miked up, I enact the cone of silence lest my big laugh gets captured. Thanks also for the spotlight on the back of my follicle-challenged scone!  The cricks in my neck will come out soon, no doubt.

Rachel: The usual congratulations are taking place in the lobby and I have a fascinating conversation with a performer who has played the role of Jamie in a staging of this very show a while back. Then it’s a hello and introduction in person for the first time to the talented musical director and pianist, Kohan van Sambeeck, who looks pleased but exhausted. Amazingly, there has been only ONE technical rehearsal before tonight’s opening performance!

Jeremy: So the stage is set up with 5 musicians seated upstage and the musical director playing piano and conducting from stage right. There is a table in front of the musicians; a door with stoop stage right; a small table with chair stage left, and a couple of platforms on either side. The lighting is fairly rudimentary.

Right off the bat, let me say that this is a beautiful score and it is played wonderfully well by van Sambeeck on piano, Campbell Ellis (guitar), Tim Perren (bass guitar), Izurein Sabudin (violin), Beren Scott and Krista Low, both on cello. Their work is a highlight of the evening.

With only two performers though, this clearly is a showcase for the vocals. I must admit I thought that Jason Arrow (Jamie) and Eimear Foley (Cathy) didn’t really get into a rhythm until his ‘Moving Too Fast’ and her ‘I’m A Part of That’.

Rachel: The show ends with the wonderful ‘Goodbye Until Tomorrow/I Could Never Rescue You’ where Cathy (Eimear Foley) is at the start of her journey and is excited to see Jamie (Jason Arrow) again while Jamie, five years later, is saying goodbye for the final time. The song is perhaps the best crafted within the conceit of the storytelling and is a poignant and rousing final number. It is a fitting showcase for both Jason and Eimear.

Jeremy: Oh, hi there. What are you doing?

Rachel: Writing a review.

Jeremy: Hey, me too! What’s yours about?

Rachel: Love, loss and relationships, with singing.

Jeremy: Mine too! Want to compare notes?

Rachel: Sure. I was going to say that it’s a strange musical in many ways. The fractured timeline narrative, while clear for Jamie, seemed more muddled for Cathy. The choice to have them interact within their separate timelines was a little confusing even though I understand the director’s rationale.

Jeremy: I have seen Jason Arrow perform before in Hairspray and Cats. He has a big voice but I was curious to see how his acting would hold up under this sort of scrutiny. As pointed out to me, Jamie could easily be seen as unsympathetic because it’s his actions that largely cause the breakup of the relationship. I thought he did pretty well though. Now doing musical theatre at WAAPA, it will be interesting to see how his acting skills develop over the journey.

Rachel: I was unfamiliar with Eimear but I see from the programme that she is also at WAAPA studying Classical Voice and Opera. Some songs didn’t seem to suit her as well as others but I thought ‘I’m A Part of That’, ‘A Summer in Ohio’ and ‘Climbing Uphill/Audition Sequence’ as well as the finale were very strong.

Jeremy: Of course Eimear got to play a little shtick in the audition sequence which was quite funny.

Rachel: And Jason did a little talking dummy/puppet work with ‘The Schmuel Song’… though neither reached for the gun.

Jeremy and Rachel: It’s perhaps ‘The Next Ten Minutes’ where they duet in the middle of the show that is the most satisfying emotionally as we finally see them fully together both in song and in their relationship.

Jeremy: The show ended to great applause.

Rachel: Does anyone park straight at UWA?

Directed by Craig Griffen with Musical Direction by Kohan van Sambeeck; Written and Composed by Jason Robert Brown; and starring Jason Arrow and Eimear Foley; as well as the musical talents of Campbell Ellis, Tim Perren, Izurein Sabudin, Beren Scott and Krista Low, there is only one more opportunity to see this show at the Dolphin Theatre at UWA, Saturday evening at 7pm. 

Closer - Fresh Bred Productions (15 February 2014)

Take a razor sharp script, four talented and committed actors, a fresh approach from a first time director then add an original score played live and you end up with this excellent production of Patrick Marber's Closer.

Marber's script is first class, delighting in pointed and brutal verbal exchanges, wry observations of modern relationships and deliberately shocking language such as the infamous chat room scene. It plays with time as these four people become entwined in each others lives for good and bad over several years. Love, sex, truth, sexual politics, intimacy and betrayal are all fair game here. This isn't a delicate examination, however. This is warts and all with real anger and hurt amongst the declarations of love and moments of tenderness. All is underlined by an almost cruel and biting wit.

The acting across the board is very good - Brodie Masini as Dan, the failed novelist who writes obituaries whilst also masquerading as something altogether different online; Natasha Stiven as the mysterious and vulnerable stripper Alice; Jason Dohle as Larry, the doctor who becomes embroiled in proceedings after Dan's online practical joke; and Diana Oliver as the photographer, Anna, who falls for Dan's advances at a photo shoot and later Larry at their "chance" meeting.

In fact they are very good indeed. Masini's Dan is the more idealistic and earnest of the two men compared to Dohle's passionate and temperamental portrayal of Larry. Oliver's Anna is down to earth and grounded while Stiven's Alice is playful yet fragile. The characters are so well drawn that each actor can really throw themselves at the material and what a volatile mix it is.

Relationships wax and wane as revelations of deceit and betrayal cause major shifts in the power dynamic between each of them. There was never a moment I didn't believe the truth of what was being portrayed in what is a complex emotional journey for all of these characters. There are also scenes that require total commitment, notably the strip club scene at the start of the second act. Kudos then to all four actors for their fine performances.

The set is minimal with draped sheets forming the entire backdrop with cutaways for entrances/exits. This was used ingeniously to project images onto to give a sense of place like moving fish at the Aquarium or stills at the Art Museum... and of course the explicit online chat between Larry and Dan (posing as Anna). It also allowed "opening credits" (like a movie) to be shown and my only regret is when I discovered later there was no programme and therefore should have been playing more attention to these!

Scene changes are made swiftly and economically and there are occasions when pairings of actors are playing scenes side by side. This works seamlessly especially the sequence when both women leave their respective lover.

A key decision was not only to utilise an original score - written by Kohan van Sambeeck - but to have himself (piano) and Stephanie-Jane Lewendon-Lowe (violin) perform on stage behind the sheeted backdrop. This added enormously to the tone and immediacy of the action without ever being intrusive. Great to see then both musicians come on stage to take a bow as they are an integral part of what is an, at times, in your face and nothing less than compelling production.

Directed by Jack McKenzie and Produced by Craig Griffen with an original score written by Kohan van Sambeeck, Closer is a treat. I would tell you to go and see it but, alas, the run is already over. It does, however, show that the Koorliny Arts Centre is off to a cracking 2014 with this and Young Frankensteinalready having been staged. I look forward to my next trip down the freeway to Kwinana!