WAAPA Music Theatre Showstoppers (9 February 2015)

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.

The number 30 was a significant one for the evening. WAAPA’s world renowned musical theatre course turns thirty this year and what a way to kick off yearlong celebrations by showcasing so many of their graduates. 2015 also marks the 30^th anniversary of the original West End production of Les Miserables. Obviously the only sensible thing to do was to celebrate 30 years of musical theatre with a roster of thir--, um, 16 songs. (I suppose 30 songs was asking too much!)  

The fundraising aspect involves WAAPA hosting the Musical Theatre Educator’s Alliance Conference in the middle of this year, the first time it has been held in the southern hemisphere. What with the launching of the Jackman-Furness Foundation last year and now this conference it’s an exciting time for the Academy.

To the show and we are greeted by our hosts Kerrie Anne Greenland, Lara Mulcahy, Rodney Dobson and Ben Hall with a rousing rendition of Live in Living Colour from Catch Me If You Can. The tone is set early with plenty of light-hearted banter, Mulcahy in particular proving adept at the witty one-liner and adroit comic timing. A post musical theatre career as a stand-up comedienne beckons!

There then followed a series of songs which was quite the eclectic mix with musicals as diverse as Phantom of the Opera to City of Angels, and Parade to Dr. Zhivago represented. What I loved though is that members of the ensemble were given equal opportunity to shine and you quickly come to realise the firepower a production like Les Miserables has. Every member of the cast is a fabulously gifted performer in their own right. The show as a whole was brilliant across the board but some of my highlights were:

Lisa Sontag and Matthew Heyward worked wonderfully well together in a funny performance of That Face from The Producers. This is given a reprise of sorts when Lara and Ben decide to interview them about what it’s like to be an understudy on Les Mis. Oh the jealousy you have to endure, Lara, the jealousy!

Mischana Dellora Cornish and Ben Hall crushed Rita’s Confession from The Lucky Stiff with Cornish especially impressive in a virtuoso performance.

While the ensemble cast members were relishing the spotlight Simon Gleeson and Hayden Tee reminded everyone why they are the headline stars of Les Mis (as Jean Valjean and Javert respectively) with a superb rendition of Lily’s Eyes from The Secret Garden. The power and control from both is simply first class.

Joshua Robson followed with a powerful Bui Doi from Miss Saigon backed by some eleven of his male colleagues. The massed voices made for a riveting aural experience.

Likewise, Chloe Zuel was supported by her female colleagues as she brought plenty of sass to a boisterous performance of Raise Your Voice from Sister Act.

Patrice Tipoki gave the penultimate performance with a stirring Defying Gravity from Wicked before Ben Elton was called onstage to share his thoughts about the importance of WAAPA in developing future generations of musical theatre stars.

It was therefore a treat to see the second and third year students onstage for the finale of One Day More. What was even better was when they moved to the front of the stage as if being anointed by their celebrated predecessors. The combined might of the Les Miserables cast plus some forty students singing the crowd pleasing song ensured a standing ovation as the show closed.

Some other thoughts:

The five piece orchestra was excellent. Well done to Geoffrey Castles (Piano), Laura Tipoki (Keyboard), Katherine Gillon (Keyboard), Anna Pokorny (Cello) and Bronton Ainsworth (Drums). 

  

The humour and genuine camaraderie throughout the show elevated this to something quite special.

I am contractually obligated to mention (because I told her I would!) that Kerrie Anne Greenland gave a “Cher-like performance” with at least 6 costume changes on the night.

It was a delight to briefly talk to some of the performers afterwards including Kerrie Anne, the elegant Elisa Colla, and Simon Gleeson who simply can’t shake Javert forced to sing opposite him even in concert! 

Likewise, it’s always a pleasure chatting to some of the WAAPA students whose year commenced today. What an inspiring and perhaps daunting experience tonight was for them. This is the bar they have their sights set on as they continue the extensive, world class training at the Academy.

This was a magical night and a timely reminder of the power of musical theatre at its very best to move and enthral us.  

Les Miserables - Crown Theatre, Perth (10 January 2015)

The iconic musical officially opened in Perth last Wednesday and the reviews have been nothing short of spectacular. I had seen the show last year during its Melbourne run but couldn’t resist experiencing it again. Firstly, the music and songs are wonderful and I’ve had the Original Broadway Cast Recording on high rotation since that Melbourne trip; and secondly, I noticed a person who teaches at WAAPA exhort his students ‘past and present’ to see the Perth production calling it exceptional. Of course, there is a strong local connection with almost half the cast having trained at the prestigious Western Australian Academy of Performing Arts. There was something to be said therefore about seeing this incarnation in WAAPA’s own backyard. Besides, I was really impressed with the Melbourne production at Her Majesty’s Theatre.

I admit I haven’t been to what is now known as Crown Perth (it was still Burswood Casino last time I was there!) for quite some time. The previous event I had seen at the theatre was a Pink Floyd cover band re-enacting The Wall (I unsuccessfully tried to tunnel my way to sonic freedom). Putting aside such traumas, the Les Miserables behemoth has transferred nicely into its new digs. Initially though the vocals didn’t sound quite as rich to me, no doubt due to the different acoustics in the new venue. That settled down pretty quickly so maybe it was just me ‘getting my ear in’. The orchestra, however, as was the case in Melbourne, was terrific from the very first stirring notes. It is such a potent score and so much of the power and emotion comes from the music. Very well played and conducted.

There is much to like about this latest interpretation of Les Miserables, the storyline of which most people will have a passing familiarity with and doesn’t bear repeating here. I will list my personal highlights in no particular order, most being confirmation of my initial thoughts from last year.

Simon Gleeson is superb as Jean Valjean and for me the highlight remains his rendition of Bring Him Home which I don’t mind confessing had me a little teary-eyed this time around. The ageing process both in makeup and performance is also very impressive.

What struck me even more so today is how Hayden Tee’s Javert goes toe to toe with Valjean and is truly a formidable adversary. Having that balance right is critical for the main narrative through line in what ultimately is a very episodic story. Tee doesn’t take a backward step and is compelling as the dogged Inspector.

Kerrie Anne Greenland is a revelation as Eponine. In what will become a storied ascent, this is Greenland’s ‘professional musical theatre debut’ straight out of WAAPA. And what a debut it is. On My Own and A Little Fall of Rain are standouts as is her acting where we feel every inch of the wrenching dagger of unrequited love.

Lara Mulcahy and Trevor Ashley threaten to steal proceedings as the Thenardier’s every time they’re on stage with a wonderful sense of comic flair and chemistry. The bawdy Master of the House is followed by The Bargain in a sequence that allows the audience to laugh and ‘breathe’ after the trials and tribulations of Valjean and Fantine up to that point. Essential and bloody well executed.

Patrice Tipoki plays a character, Fantine, who falls so far so quickly that it’s a volatile arc condensed into a very short period of stage time. It therefore requires maximum emotional impact with I Dreamed A Dream the early crowd pleaser but Lovely Ladies is also a harrowing sequence under all the false bravado. Tipoki does this well and I especially liked her angelic turn at the end as Valjean finally finds peace.

Speaking of Lovely Ladies, the ensemble is so good throughout – adding vocal punch, colour and movement in other numbers such as At The End of The Day, Master of the House, The People’s Song, One Day More and Drink With Me.

Euan Doidge and Emily Langridge make for an engaging couple whose sweetness and naivety acts as another necessary counterpoint to the more bleak aspects of the story (and there’s a few!). Empty Chairs at Empty Tables is well handled by Doidge as is A Heart Full of Love with Greenland joining Doidge and Langridge as the romantic entanglements of the story come to full light.

The fine performances and musicianship is matched by inventive staging – from the sets that unfold to fill the space, to the use of projections (most notably the sewers under Paris and for Javert’s death), and the lighting and other effects that enhance the doomed fate of those on the barricades.

For rousing songs and sheer theatrical spectacle Les Miserables is hard to beat and this production has quality in every department. Having seen quite a few shows at WAAPA last year it is also exciting to see the path that many of those talented performers who have now graduated might follow given the number of alumni here. This is Australian musical theatre at its pinnacle so get along to see it if you can.