42nd Street - WAAPA (20 June 2017)

Forty specks of dust on a stage. 

Twenty graduating students; another twenty who will be in their place the exact same time next year.

Yes, when "you put all those specks of dust together... you have something alive and beautiful that can reach out to thousands of people..."

And so it proves in this spectacular mid-year production at the Regal Theatre.

There is perhaps nothing more exhilarating at the theatre than witnessing a mass tapdancing routine. I confess I'm sucker for it and here you don't get one, or two, or three, you get several tightly choreographed explosions of movement, colour and straight up, unabashed enthusiasm. It's a joy to watch. Plus this - you will rarely see that number of performers together on stage at the one time outside of this combined flexing of WAAPA's MT muscles.

"...who cares if there's a plot or not when they've got a lot of dames!"

Sure, the plot even with the 'play within a play' structure is hardly groundbreaking and follows a well trodden path. But who cares? Every set piece is exquisitely staged and performed so the skeleton on which it all hangs is, certainly for me, of secondary concern.

"...you're going out a youngster but you've got to come back a star!"

It's perhaps not so difficult to draw parallels in this statement between the fictional character Peggy Sawyer and the performer who plays her, Mackenzie Dunn. Dunn displays true triple threat talent - singing, dancing, and acting - and like Peggy is destined to have a big future. The other standout for me was Lucy Ross as the bitchy, aging star Dorothy Brock who will be usurped by Peggy. Ross sings exquisitely and is all swagger and attitude to burn.

Others to impress - Tom New as irrepressible Billy Lawlor; Joshua White as the demanding Julian Marsh; Laura Jackson as Maggie Jones; Kelsi Boyden who brings the charisma with her Ann Reilly; the sharp dancing of Luke Haberecht as Andy; and a lanky comic performance by Ben Colley as Bert.

But then everyone is excellent and the dancing is fabulous as is the orchestra.

When I left the theatre there were a couple of teenage girls tapping on the footpath. If I wasn't already smiling that just capped the evening off.

If you don't leave the Regal grinning from ear to ear after this show seek medical attention. Immediately. I'm serious. Go to nearest medical facility NOW.

Highly recommended though I expect tickets will be extremely difficult to get.

*originally published at facebook.com/perththeatrereviews

Top Five Shows - Fringe World 2017

That's me done for Fringe for another year. A relaxed and entertaining run of 17 shows that I enjoyed very much. Thank you to all the performers, musicians, and the raft of people behind the scenes making it all work so smoothly.

Now, as anyone who follows me knows, I like a good list so here are my Top 5 shows and some notable contributors...

1. LA SOIREE - Led by Captain Frodo and The English Gents with a plethora of superhuman individuals this is like The Avengers of Fringe shows.

2. THE ONE BY JEFFREY JAY FOWLER - My tip for the Martin Sims Award for best local production.

3. WHEN HE GETS THAT WAY - The unexpected gem of my festival experience with a cracking script and a duo of great performances.

4. WRONG DIRECTION - The raucous boy band pisstake that was so wrong it was oh so right.

5. A HOT HARLEM ROMP - Powered by a white hot jazz band this had style to burn.

There were many fine performances but a few in particular that caught my eye...

GEORGIA KING - Terrific in The One playing a woman aghast at the prospect of marriage and all its ramifications.

JEFFREY JAY FOWLER - While I wasn't as big a fan of Price Tag, that play, The One and a reprise of Fag/Stag mark Fowler as a significant writing presence at this year's Fringe.

Special Mentions:

Gabriel Fatin - provided superb accompaniment on piano in the classy Minor Major Marlene.

Lisa Louttit - a wonderfully calibrated comic performance in When He Gets That Way.

Lucy Ross - her rendition of Amazing Grace alone blew the doors off The Brisbane in her very funny musical Guess Who's Coming To Dinner.

Kimberley Harris (as Kimberley Diane) - excelled in a thoroughly charming one person show about chasing your dreams.

Mark Storen - added significant musical chops in The One as well as being a terrific counterpoint to King.

*originally published at facebook.com/perththeatrereviews

Fringe World 2017 - Shows at The Brisbane (28 January & 9 February)

Where Be The Winged Apes? - Emma O'Sullivan (28 January 2017)

An empty waiting room outside the door to Hell. The receptionist is missing and Satan is apparently sooking behind the door. A queue of people wait to get in headed by newly deceased bus accident victim Emma in a 'sequined catsuit'.

We know it's purgatory as a) it's hot (special effects, Perth summer) and b) The Girl From Ipanema has been playing on an endless loop.

So begins a very funny one-sided conversation between Emma and Satan as she tries to gain entrance to this 'minimalist Hell'. Smart, likeable, and energetic, O'Sullivan is totally engaging as she plays up to the audience and creatively uses the door as both prop and defacto representation of Lucifer himself.

Just when I thought the premise was beginning to run out of steam, O'Sullivan pulls a reversal that is well-timed and cheekily executed as she sticks the landing with aplomb.

A fun show upstairs at The Brisbane that is destined to win Best Use of a Venn Diagram in a Fringe Show! Last show Sunday, 29 January.

Guess Who's Coming To Dinner - The Immaculate Conception (9 February 2017)

I can truly say that this show engendered an epiphany with its rousing anthemic closing number that has changed the way I see the world, today, tomorrow, and the day after next.

Words that will never leave me. I could share these talismanic lyrics of wisdom but such potent life-changing advice really should be experienced in person.

Of course, the journey to such wisdom is fraught with obstacles and what better way to depict the conflicts of the world than at the time honoured saga of introducing your gay Muslim boyfriend to your Carrie-esque religious mother over dinner? The premise is pregnant with satire and conflict.

What's more, the original songs show an inherent understanding of the musical theatre form driving the narrative forward and illuminating the inner emotional lives of the characters. The Book and Lyrics by Lucy Ross who plays the mother are witty and subversive; the music by Benjamin Colley playful and expertly rendered by Tim How.

Colley plays the son nervous about introducing Ashley Rousetty's Mo to his mother. As the increasingly inebriated Gloria becomes more offensive, Mo rises to the challenge. It's funny and pointed with a healthy dose of satirical bite.

Highlights include the aforementioned ending, a blazing rendition of Amazing Grace by Ross, and a standout setpiece as awkwardeness turns to disbelieving laughter which is cleverly incorporated into song. And sing all three can with talent to burn.

One more show left this Friday night. Go see it, it could change the way you see the world. Just don't sing the closing lyrics to your pastor.

*originally published at facebook.com/perththeatrereviews