Cinderella - Koorliny Arts Centre (4 November 2014)

If the object of the story is to find Cinderella then the glass slipper fits snugly with the casting of Madeleine Shaw in the title role. The headline news out of Tuesday night’s final dress rehearsal down at the Koorliny Arts Centre is that the petite performer has a wonderful singing voice and a confidence that comes with it. Of course, no production is bigger than any single person but with Shaw director Ryan Taaffe has a bona fide star anchoring the show. That alone should guarantee a successful season for the Rodgers and Hammerstein musical of the famous fairy tale but this is such a charming, family friendly effort that it will please children and parents alike.

Cast opposite Shaw in the role of Prince Christopher is Daniel Nixon who comes into his own in the second act (as did the show as a whole) especially with Ten Minutes Ago and Do I Love You Because You’re Beautiful? The ball is the strongest sequence and Shaw and Nixon work well together as the fledgling romance flourishes before being cruelly cut short.

Speaking of cruel, Tammy Miller gives a strong performance as the Stepmother doing a lot of the heavy lifting in the first act as the familiar tale kicks into gear. She is joined in this by Stacey Hollings and Grace Dennis-Sayer as the sisters who vie for the Prince’s attention and provide a lot of the comic relief. Dennis-Sayer in particular gives Joy a robust physicality with a most impressive snort. They have some nice pratfalls as they battle each other while being in thrall to their conniving mother.

Shelley Whiteaker is the Fairy Godmother who kicks off the tale and provides that little piece of magic that turns Cinderella from browbeaten servant girl to beautiful princess. The transformation is indeed magical with an ingenious piece of costuming design that was most impressive. Vocally Whiteaker is strongest in her final number at the end of the show. Indeed, most of the singers seemed a little tentative but that should shake itself out as they get into a rhythm over the run.

Of the other secondary characters, Mark Thompson provides additional comic relief as the Prince’s confidant Lionel while David Major and Pamela Ogborne play the King and Queen. Ashleigh Riley is an almost ethereal presence as the “Dove” that guides Cinderella at key moments and the children playing the four mice and a cat are delightful. There is also an ensemble of some 16 additional performers across all ages for the market and balls scenes.

The set is quite simple with minimal transitions as most of the action is either at the Stepmother’s house, the markets, or the palace/ballroom. The 13-piece band is located stage left fully visible to the audience and played well under the direction of Krispin Maesalu.

The first act moved a little slow but again, that should tighten with more performances and the energy levels will go up a notch with a bigger audience than simply me. The production certainly found a better rhythm in a second half that doesn’t outstay its welcome and has a crowd-pleasing happy ending and perhaps the stronger musical numbers. If anything, the show plays to its strength any time Madeleine Shaw has a featured number and there is a nice balance with the fairy tale romance, broad comedy, and an old-fashioned charm that is hard to resist.

Directed by Ryan Taaffe with Musical Direction by Krispin Maesalu and Choreography by Allen Blachford, Rodgers and Hammerstein’s Cinderella opens at the Koorliny Arts Centre Thursday 6 November and runs until 15 November.

Xanadu - Koorliny Arts Centre (16 August 2014)

Before we start, I have a confession to make. It’s 1981. The album Physical by Olivia Newton-John has just been released. I vaguely know who she is from Dad’s collection of old vinyl albums. The fresh-faced country singer of Me and Bobby McGee fame. This, however, is not my father’s Olivia. Blush. Yes, I had a crush on ONJ! (Settle down, I was only 15. Imagine my delight when I later discover Grease). I mention this because Saturday’s matinee has these long forgotten, adolescent memories, ahem, flooding back.

Now, to describe the plot of Xanadu as naff would be an understatement of mythical proportions. Based on the 1980 movie starring Olivia Newton-John, Gene Kelly, and Michael Beck, a demi-god comes down to Earth to inspire a chalk artist to open a roller disco. Two of her sisters, put out that they were overlooked for top Muse duties, curse her to fall in love with this mortal which, as all good classical scholars know, is against almighty Zeus’ rules. Okay then.

None of this matters. One. Little. Bit.

Xanadu the Musical knows exactly what it is and embraces the kitsch and cheesiness with such a good-natured sense of fun and cheekiness that you can’t help but be charmed. It also features songs from the aforementioned Olivia Newton-John as well as ELO. Songs I know by heart. Songs I was tempted to sing along to. There are also original numbers written for the musical. Plus this, performers on rollerskates!

The first thing that strikes me is that the band is located on an elevated platform tucked into a corner, stage left. In front of them are the three ‘pit singers’ (Paul Taylor-Byrne, Sylvia Mellor and Vikki Walker)… or ‘anti-pit singers’ as the director referred to them afterwards. They not only lend some vocal oomph but are part of the choreography and, at times, amusingly seem to be ‘judging’ events on stage below them. The band, led by Musical Director Kate McIntosh (also on keyboards) and Taui Pinker (keyboards), Vlad Sturdy (guitar) and Nikki Gray (drums) are in cracking form and have fun with that unmistakeable early 80s sound prevalent here.

Drue Goodwin plays Sonny, the artist with big dreams, who falls in love with his Muse and even travels to Mount Olympus to rescue her from Zeus’ wrath. As all good mortals do. It’s an exuberant performance and Goodwin is great playing the character with a nice mix of cockiness and naivety. He also sports (to my ears) a convincing American accent… and an outfit that could only have been worn in the 80’s! Vocally he is stronger in the more rock oriented numbers though has nice moments in Don’t Walk Away and Suspended in Time.

Kimberley Harris shines as Clio aka Kira who descends from Mount Olympus (once again as we discover) to inspire the artistic ambitions of a mortal.  She gets to show off a thick Aussie accent in her human disguise as Kira but also, briefly, an American one in the flashback with Danny. Impressively she is on rollerskates for the majority of the show - a skill I later learnt took her 4 months to master. Of course, she has the unenviable task of following ONJ in singing well known numbers such as Magic, Xanadu and the duet Suddenly. She does these well but it’s original numbers such as Suspended in Time where she wings her way to face Zeus on Pegasus (a great prop) where Harris really comes into her own.

The supporting cast are terrific, especially Rachel Monamy (Melpomene) and Elethea Sartorelli (Calliope) as the jealous muses who get up to all kinds of mischief. Their work in the ELO classics Evil Woman and Strange Magic is hilarious and they threaten to steal the show with cackling good performances. Ryan Taaffe (also the director) plays Danny, the older version of Sonny, who was visited by Clio decades before. He gives a nicely gruff performance before doubling as Zeus himself whose judgement will be swayed by a loopy argument put by one of Zeus’ wives.

The ensemble comprises Hillary Readings (also the choreographer), Brooke Pimlott, Allen Blachford, and Jamie Harrold. The dance numbers are good fun and the ensemble add so much colour and movement with great vocal support and humour. The finale with the majority of the cast on rollerskates singing Xanadu is a suitably over-the-top spectacle. A featured Blachford gets his Gene Kelly on with a lovely tap routine during Whenever You’re Away From Me which is a highlight with Harris looking the glamorous 40s starlet in Danny’s flashback.

Above all, this is funny and utterly entertaining. I was having a great time with the show. So much so that apparently my nickname backstage was Chuckles! There is a lot of talk throughout about artistic inspiration with several in-jokes that tickled my fancy. There’s also a killer pot shot at Andrew Lloyd Webber and who doesn’t like those? Naff said.

Directed by Ryan Taaffe with Musical Direction by Kate McIntosh, Book by Douglas Carter with Music and Lyrics by Jeff Lynne and John Farrar, Xanadu stars Drue Goodwin, Kimberley Harris, Rachel Monamy, Elethea Sartorelli, Ryan Taaffe, Hillary Readings, Brooke Pimlott, Allen Blachford and Jamie Harrold with band and pit singers Kate McIntosh, Taui Pinker, Vlad Sturdy, Nikki Gray, Paul Taylor-Byrne, Sylvia Mellor and Vikki Walker. There are three shows left at the Koorliny Arts Centre in Kwinana, 22-23 August at 8pm with a 2pm matinee on the 23rd. 

Get your rollerskates on and go see it!

Annie - Koorliny Arts Centre (17 May 2014)

Musical theatre is such an educational medium. For example, I was unaware that it was a redheaded orphan who was the inspiration for Franklin Delano Roosevelt’s response to the Great Depression – the New Deal - in the 1930’s! Of course, Annie is one of those quintessential stories, like Forrest Gump, that celebrates that most idealistic of cultural phenomena, the American Dream.

Here, an eleven year old girl searching for her parents is saved from a bleak existence in an orphanage by a billionaire and gets to meet the President of the United States before eventually being adopted by said billionaire after learning her parents are dead. At Christmas time no less to add another layer to the fairy tale. I’m not sure such a story could be set anywhere else but America.

Putting aside the cultural peculiarities, Annie is full of great songs and optimism, best symbolised by the song ‘Tomorrow’, a rendition of which prompts Roosevelt’s unlikely epiphany.  

None of this works without a young performer who can pull off the eponymous role. In Christie McGarrity director Katherine Freind has certainly found her Annie. She gives an assured performance that belies her age with a strong voice that handles Annie’s showcase numbers, including the iconic Tomorrow, with aplomb.

Annie’s nemesis is Mrs. Hannigan (Val Henry) who runs the orphanage and has a strong dislike for the feisty girl. Henry treads the fine line between what passes for a villain in this tale and comic relief nicely. The orphanage is populated by a whole raft of girls and their interactions are a true delight.

Into this world steps Grace (Kimberley Harris) representing the billionaire Oliver Warbucks (Chris Gerrish) who is looking to host an orphan for two weeks leading up to Christmas. She insists on picking Annie much to Mrs. Hannigan’s annoyance and Warbucks’ surprise as he was expecting a boy. Harris has the standout singing voice and plays the dutiful assistant well. Gerrish is great as ‘Daddy’ Warbucks and has good chemistry with McGarrity. Warbucks sets out to find Annie’s parents and enlists Elliot Ness and the FBI along with a little help from the President (Andrew Hislop) who is charmed by Annie.  

When Warbucks offers $50,000 for Annie’s parents to come forward his staff is inundated with claimants including Hannigan’s con artist brother Rooster (Joshua Munroe) and his needy girlfriend Lily (Georgia McGivern) who want to be on “easy street”. Things look bleak but their plot is foiled and everyone celebrates Christmas with a song and a smile.

This is a big production with a large cast and a very impressive set. The opening scenes in the orphanage and on the streets of New York are set in the front half of the stage with stage curtains as a backdrop. When those curtains are opened they reveal a wonderfully appointed, multi-level set representing Warbucks’ mansion. The lighting is very good as are the costumes. In fact this is perhaps the most impressive looking production I have seen at Koorliny.

The penultimate show, today’s matinee, drew quite a crowd and it was fantastic to see so many children in the audience. It would be remiss of me not to mention crowd favourite Sandy, a character of the four legged variety played by ‘Dijaan Rhodes’ but the biggest applause of the afternoon was reserved for Christie McGarrity who is set for quite the future on this outing.

Directed by Katherine Freind, Musical Direction by Justin Freind and Choreography by Sue Cunnell with a cast of 57 (and 1 dog) listed in the programme, Annie was an enjoyable afternoon’s entertainment that was well received by the audience. 

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!

Young Frankenstein the Musical - Koorliny Arts Centre (25 January 2014)

Lured by the sound of a lone French horn I embarked on a hay ride to Castle Frankenstein located in deepest, darkest Kwinana for a little transference, a lot of mania and some deep love. Yes, Young Frankenstein the Musical was on the loose at the Koorliny Arts Centre and what a rampage it is.

I was greeted by the flickering of lightning, the crack of thunder and a suitably ominous stage. It’s 1933 Transylvania and the villagers are celebrating the death of the infamous Doctor Frankenstein (The Happiest Town). But their happiness is disturbed when it’s announced that a Frankenstein yet lives in New York City of all places. Here we find the good doctor’s grandson Frederick Frankenstein or as he insists, “Fronkensteen”. A scientist, he is fascinated by the brain (The Brain) but ashamed of the family name.

On hearing the news of his grandfather’s death he reluctantly leaves New York and the hands-off charms of his fiancée, Elizabeth (Please Don’t Touch Me) and heads to the family castle where he meets the hunchback Igor (pronounced eye-gore), his lab assistant Inga and the wonderfully strange Frau Blucher (obligatory neigh). Entreated to continue the family business by the ghost of his grandfather (Join the Family Business) young Frederick begins his descent into mad scientist territory and a Monster is duly created with unexpected and hilarious results.

Based on the Mel Brooks’ movie of the same name, it exhibits the typical Brooks sense of humour as it parodies the horror genre. The gags can be a little hit and miss but I generally found this very funny. It is also performed and directed with great verve and there are many wonderful set pieces.

But first, the performances.

Jesse Angus is superb as Frederick Frankenstein, a character that is cocky, arrogant, even smarmy when we first meet him in New York but becomes the brilliant mad scientist as he recreates and then exceeds his grandfather’s greatest triumph. Angus attacks the role with impressive energy and the appropriate level of mania as “Fronkensteen” indeed embraces the family business. He has excellent chemistry with Igor played with relish by Laurence Williams; and Brooks’ archetypal Scandinavian blonde, Inga, played by a sparkling Sarah Elizabeth Hubber. Williams’ comic sidekick, hump and all, adds plenty of sly humour while Hubber gets to be both ditzy and sexy to great effect.

Natalie Burbage’s Frau Blucher (neigh) is suitably over-exaggerated as the mysterious housekeeper; Jon Lambert an imposing Monster whose howls of frustration and despair become something far more articulate in the latter stages; and Allen Blachford’s Dr. Frankenstein looms over proceedings with a couple of pivotal scenes.

The unexpected visit to Transylvania by Georgia McGivern’s Elizabeth (Surprise) in the second act is the catalyst for all sorts of shenanigans, one of which leads to her revelatory number Deep Love. Daniel Burton’s Inspector Kemp rallies the villagers to storm the castle but it’s his blind Hermit that provides one of the highlights as he unknowingly entertains the Monster (Please Send Me Someone).

Other highlights:

The beautifully staged Roll in the Hay as Frederick and Inga make their way to the castle in the back of a hay wagon… with yodelling;

Victor Frankenstein (and ancestors) exhorting his grandson to continue his work in Join the Family Business;

Natalie Burbage’s crazy, frantic, bodice ripping He Vas My Boyfriend;

The Monster becoming animated in Life, Life;

And the show-stopping numbers Transylvania Mania that closes out the first act, and, of course, the delightful Puttin’ on the Ritz where Frederick shows off his Monster in all his tap stomping, coat and tails glory.

The ensemble gives great support as variously villagers, students, ancestors and the band were very good. The transition between scenes was handled effectively with a screen also used to indicate the setting (laboratory etc) and project images such as the late Doctor Frankenstein.

This is crazy and high camp at times but it works due to a talented cast committed to the absurdity of it all. I certainly found myself laughing along merrily and tapping my feet to several of the numbers.

Directed by Brad Tudor, Musical Directors Kate McIntosh & Taui Pinker, with Choreography by Hillary Readings, Young Frankenstein has three more shows at the Koorliny Arts Centre on Friday 31st January at 8pm and 1st February at 2pm and 8pm.

In a word, this show is Alive!

The Rise and Fall of Little Voice - Koorliny Arts Centre (15 September 2013)

I made my way to Kwinana for a fast-becoming-regular jaunt down the freeway to the Koorliny Arts Centre, this time to see The Rise and Fall of Little Voice. I find this a most interesting and difficult story in both the incarnations I’ve now seen (play and film). It is an ugly duckling story populated by people who are essentially ugly. That makes it, for me, a challenging watch. The trick then is to unravel my reaction to the characters versus the performance of the actors.

The story is simple enough – the eponymous Little Voice or LV as she is known, fanatically listens to old records in her room and has become an expert impersonator of their vocal styles from Shirley Bassey to Marilyn Monroe and a whole variety in between. Her mother, who is dating a small time talent agent, sees her daughter as a way to a better life; the agent sees LV as a way into the spotlight and the dollars she will bring. They coerce her to perform at Mister Boo’s club. Meanwhile, quietly spoken telephone technician Billy innocently courts LV.

First off, the mother is thoroughly unlikeable and, in many ways, despicable. Full credit then to Judi Johnson who plays such a difficult character with full on gusto. Yes, I was squirming as I find the character’s motivations and actions largely abhorrent but that’s the way Mari Hoff is written. Anything but a total commitment to the character would fall flat. It’s uncomfortable at times but I can’t fault the commitment.

The agent is also problematic. More sleazy than charismatic, his put down of Mari in the latter stages of the play is simply nasty and mean spirited. The lady sitting next to me visibly blanched as he launched that horrid verbal assault. Again, credit to Ian Butcher for tackling another unsavoury character, that of Ray Say.

Hillary Readings provides gentle comic relief as Sadie Mae but even her character is mainly there to reflect the ugly side of Mari.

The structure is also problematic as the first act largely comprises the antics of Mari and Ray with LV very much in the background. We get glimpses of her talent and of the gentle romance that is to unfold but essentially we are immersed in Mari’s tawdry little world.

Then we get to the second act and this is where the play cranks into gear because it finally unleashes the star that is both the character of LV and Breeahn Jones who plays her. This story only works if you believe LV has the amazing talent to sing these standards AS the original performers. Jones shines when given full voice, pun fully intentional. I had not seen her perform before but the programme notes indicate she won 2011’s Best Actress in a Musical at the Finley Awards and she definitely has an excellent and versatile singing voice.

Geoffrey Leeder as Mister Boo moves things along nicely and the club is represented simply as a microphone in front of closed stage curtains with a lighting cue saying Mister Boo’s. This meant Jones was less than two metres away from where I was sitting in the front row and to see her go from reserved, put upon daughter to animated performer was a delight.

Then there is Jack McKenzie as Billy who, in a relatively small but pivotal role, adds genuine sweetness and charm. This is a critical counterpoint to all the crassness that surrounds LV’s world and he pulls it off well.

The set was very good with a split level representing the house – lounge room and kitchen downstairs; LV’s bedroom upstairs. The transitions though felt a bit clunky at times with the opening and closing of the stage curtains by hand when going to the club or outside the house.

Overall I enjoyed this but it is a story with many characters that are hard to warm to. Even LV’s eventual castigation of her mother, while earned, verges on being mean spirited itself. The singing, however, is excellent and the underlying love story paid off nicely.

Directed by Ian Cross.

The 25th Annual Putnam County Spelling Bee - Koorliny Arts Centre (22 June 2013)

Spell "Audience participation".

Nervously approaches the microphone. Clears throat. Meekly asks, "Could you define that for me please?"

"Where a person in the audience volunteers to be on stage and participate in the events that will shortly transpire upon it."

"Could you, um, use it in a sentence please?"

"This musical is hilarious, entertaining and involves audience participation."

Yes, that was me impulsively volunteering to be one of four audience members who would be on stage participating in the 25th Annual Putnam County Spelling Bee at the Koorliny Arts Centre. Well, it went something a little like that... actually it involved a clipboard, a form, and a casual "sure, why not?" in the lobby. I managed to stammer out the first word I was asked to spell (which led to "pandemonium") but I'm not entirely sure the second one was an actual word. So with heartfelt hugs, a small orange juice as a gift, the laughter of the audience ringing in my ears, and a chorus of "goodbye, goodbye" from the cast, my short-lived stage career was over.

This is a funny, entertaining musical and I thoroughly enjoyed it. Being on stage for a large chunk of the first act enhanced the experience - allocated a number, told when to sit, when to stand whilst interacting with the cast and even *gulp* dancing at one stage. Then, of course, being called to the microphone to spell.

But enough of me... what about the show? This celebrates the absurdity and competitiveness of that most unique of American "sporting events", the spelling contest. Each of the contestants battle not only each other but the expectations of parents; their own high hopes; raging hormones; and the pressure of being a winner. Each is quirky and fun, from the "magic foot" spelling routine to speaking six languages to an unfortunate, um, protuberance. On the opposite side, the moderator (and former winner) and vice-principal keep things running (relatively) smoothly with outbursts kept to a minimum! Then there's Mitch, ex-convict and counsellor who dispenses the hugs, juice boxes and some tough love.

As contestants are eliminated priorities change, revelations are made (including a surprise "cameo"!) and a winner finally announced. But there's a real sweetness underpinning the conclusion which was a lovely touch.

The cast are strong across the board with genuinely funny songs throughout. The highlight musically for me was "The I Love You Song" as one of the contestants imagines her parents' love and support as she is asked to spell a word that resonates in that moment. Beautifully handled by Kimberley Harris, Ryan Taafee and Rachel Monamy. Other highlights: Daniel Burton's unfortunate demise and subsequent resurrection as a candy bar seller; the surprise "cameo" that I will not spoil here; Jonathan Best's transformation from smug know-it-all to something far more tender; Paul Treasure's colloquial explanation for his character's outburst which any Australian will instantly understand (and sympathise with); and the slow motion sequence which was hilarious.

I must mention the other cast members - Natalie Burbage, seen recently in The Wizard of Oz and last year in Hairspray, who is always good and seems to specialise in a brand of zany yet kind-hearted character; Jesse Angus (also Wizard of Oz) with cape a flowing and a small hand puppet who lingers before being dragged off stage at the end; and Erin Craddock as the straight-laced Marcy Park whose joyous reaction to an unexpected epiphany is fun to watch.

There was a real buzz from the audience after the show ended and it is genuinely laugh out loud funny. But do you dare volunteer to go on stage?!

Directed by Ryan Taaffe; Musical Director Kate McIntosh with Choreography by Hillary Readings.

The Wizard of Oz - Koorliny Arts Centre (27 April 2013)

I travelled to Kwinana today to watch the matinee session of Koorliny Art Centre’s The Wizard of Oz. I had been very impressed with the last production I saw there (Jack the Ripper) and was interested to see how such an iconic story translated to the stage.

The lead role in this instance was played by Chloe Rollond (alternating with Georgia McGivern throughout the run) who notably sounded like Judy Garland in her speech patterns which was a nice touch. Chloe gave an assured performance as Dorothy which is no small task given she’s pretty much on stage the entire time and opens vocal proceedings with the timeless Over the Rainbow.

From what I remember of the classic movie, this production is almost identical story-wise. There is the reasonably long setup of all the major characters in Kansas – Dorothy, Aunty Em (Natalie Burbage), Uncle Henry (Jesse Angus), Ms Gultch (Cat Baxter), Professor Marvel (Geoff Leeder), and the three farmhands who will become Scarecrow (Drue Goodwin), Tinman (Brodie Masini) and the Lion (Craig Griffen); as well as the show stealing introduction of Toto Tudor as Toto the dog. With that name, clearly a role he was born to play!

The arrival of the tornado and its aftermath is handled effectively with the use of lighting and sound effects. Indeed, it was rather a sparse set with various forms of simple lighting effects used to recreate the world of Oz. The costuming was excellent and the Munchkins were a delight with a multitude of colourful young cast members.

The main quartet of Dorothy, Scarecrow, Tinman and Lion played off each other nicely and the musical highlight comes in the second act with Jitterbug. Cat Baxter is suitably menacing as the Wicked Witch of the West as are her flying monkeys and other minions. Natalie Burbage’s Glinda the Good Witch is kind of kooky as a deliberate counterpoint. Jesse Angus also brings an element of humour to the second act as the Emerald City guard.

It’s quite a long production but seemed to keep the attention of the large number of children in attendance for most of its length. The orchestra started slowly for mine but later found their rhythm. As there was no elaborate staging the scene transitions were economically handled and kept proceedings moving along suitably briskly.

Other highlights – Toto eagerly, with tail wagging, stealing the Professor’s sausage much to everyone’s delight; Drue Goodwin’s physical performance as the Scarecrow; Craig Griffen’s number King of the Forest; and the three Black Crows who felt like refugees from The Muppets but worked nicely.

It’s a classic tale well told with colour and verve. Directed by Brad Tudor with Musical Director Stephanie-Jane Lewendon-Lowe and Choreographer Allen Blachford.

Jack the Ripper the Musical - Koorliny Arts Centre (14 July 2012)

It’s 1888 and prostitutes are being murdered by the notorious Jack the Ripper. The girls have to work to survive even though Whitechapel ain’t the saf'st place 'round no more. The men, good honest dockhands, are broke, waiting for a boat to come in while the police are confounded as the body count rises.

Fertile ground for a musical? This is, in fact, more rollicking music hall style with a healthy dash of vaudeville thrown in and it works an absolute treat. The piece itself acknowledges this with characters congregating in a music hall for regular set-pieces where everything from the Queen to all manner of authority figures are mocked.

Queen Victoria (Kate O’Sullivan) may indeed rule the realm, but the Queen Bee amongst the working girls is Marie Kelly (a luminous Victoria Luxton) who is the centre of attention for admiring customers and those who seek to ‘save’ her alike. She is flirty, feisty, tough and Luxton plays her with great confidence and has the standout singing voice with several featured songs. Marie’s main foil is Montague Druitt (Jack McKenzie) who seeks her out with Bible and seemingly good intentions in hand.

The story is actually quite thin but this didn’t trouble me as it explores the colourful world of Victorian London and the characters that populate it. The bawdy fun takes on darker tones as one after the other the working girls fall (unseen) to the Ripper’s blade. Indeed, Jack is a bit of a McGuffin for the majority of the piece until things are tied up late in the second act.

There are excellent songs delivered in rousing style by the full company in many instances; as well as some lovely quiet moments, especially “Good-bye Day” as ‘Marie and the girls’ mourn the death of Polly (Tarryn Bullock) and ‘Step Across The River’ as Marie and Lizzie (Kate O’Sullivan again) have a touching duet as Marie tries to leave her working girl life behind.

‘Rippers Going To Get You’ that closes the First Act was also a highlight as the lads warn Annie (Georgia McGivern) about the dangers of being alone at night; the ‘Policeman’s Chorus’ is hilarious vaudeville by ‘The Constables’ (in unexpected attire); and there is a fabulous set-piece skit where a plan is hatched to write a letter to dob in a troublesome character as the killer.

This is a big cast (20 listed in the programme and I apologise for not naming them all here) and the venue was beautifully set up with cabaret seating and a spacious stage with excellent set design. The costuming was as colourful as the characters and the singing was of a generally high standard.

I found this a thoroughly entertaining romp of a musical delivered with great humour and verve. For only $20 a ticket it is an absolute steal given the quality on show. So I would strongly recommend you get down to the Koorliny Arts Centre in Kwinana and enter the world of Jack, Marie and the denizens of Whitechapel while you still can.

Direction and Musical Direction: Cat Baxter

Choreography: Allen Blachford