We Will Rock You - Platinum Entertainment (7 July 2023)

Before we begin, some context - Queen was one of the formative bands of my youth. We're talking the early eighties so the albums The Game, Flash Gordon soundtrack and yes, the oft derided Hot Space (Cool Cat featuring a beautiful falsetto by Freddie is still one of my favourite Queen songs) were my introduction. I listened to them via a strange plastic device called a cas-sette which often required maintenance using a pen-cil. They were simpler times. I quickly discovered the rest of the catalogue including the terrific Live Killers double album before growing with them into their later work. 

All this is to say that if you're going to mount a musical using over twenty songs from one of the most theatrical of all rock bands then who am I to argue? Certainly, you can approach We Will Rock You as a pseudo concert as hit after hit are performed with lyrics and riffs that have entered the public consciousness long ago. However, this show at the Regal Theatre in Subiaco not only honours the music but also that sense of theatricality and flamboyance with a no expenses spared, stunning production. 

The multilevel set is spectacular - framed by a lattice of metalwork that invokes the sense of a mainframe which is germane to the plot, such as it is. Overhead is a circular metallic structure that holds a whizzbang array of state-of-the-art lighting technology augmented by other lighting sources. The curved back wall/screen of the stage is used for rear projection of various locations and visual effects with startling clarity and occasionally live video images of the performers. It reminded me in some ways of a theatre version of The Volume, famously used in The Mandalorian to recreate immersive worlds. 

To add even more flavour there is a revolve with a separate outer ring to give momentum and movement to sequences as if the choreography and physical performances aren't already enough. Then there's the costuming which is suitably bright and gaudy with no sequin spared for our Killer Queen in particular. In short, the show is a visual treat. 

The sound quality is also incredibly high with crisp vocals and a good balance between performer and a white-hot band (Chris Travaglini, Glenn Hogue, Shayne Savic, Jon Clements, Manoli Vouyoucalos & Kieran Murphy) who were in fine form. The show is LOUD as befits a band of Queen's rock and roll stature so sometimes dialogue during the raunchier numbers is harder to decipher. 

Which brings us to the plot. In the future, where music and personal expression has been banned, the Global Soft corporation fights the Bohemians until a chosen one, Galileo Figaro, who hears the old songs in his head, um, rediscovers rock and roll through the power of Queen's music. Or something. It doesn't really matter and pretty much all pretence of a coherent storyline is abandoned when we get into the homerun stretch of three of Queen's biggest hits so by that stage the audience is clapping in time and stomping their feet so who cares? And clap and cheer they do including a spontaneous call and response sequence which highlights the ubiquity of Freddie Mercury's iconic live performance style. 

Ben Elton's updated book mines most of its comedy from references to well-known lyrics from a wide array of artists; the use of famous musical names in strange ways for odd characters; and a lack of understanding of the old ways and technology. The performers sell it and Luke Hewitt (Buddy) especially makes great hay in the latter stages of the second act with a knowing wink and nod.  

To the performances and from the start let me say the singing talent on display is exceptional. No one is going to mimic Freddie Mercury's legendary vocal range but Nicholas Cruse is a hell of a likeable Galileo and belts out a Queen song with gusto including the immortal number that closes the show. He works well with Kelsey Skinner's feisty Scaramouche and the show finds its groove in the first act with their duet of Under Pressure. They also share another highlight with Who Wants To Live Forever in the second act. The 'quieter' songs were often more notable for mine as they carried greater emotional heft. 

The other significant pairing is standout Holly Denton (Oz as in Ozzy Osbourne) and Courtney Murphy as Brit (as in Spears). It's an odd duo which is why it works so well. They rock out to I Want It All and Denton nails No-One But You as a lovely tribute to those rock stars who died far too young including Australia's own Michael Hutchence. 

A gloriously vampy Dean Misdale makes an indelible impression as Killer Queen including a killer stretch in the second half with Fat Bottomed Girls, an unfortunately truncated Don't Stop Me Now (though what a note by Blake Williams that indeed stopped Misdale in his tracks), topped off with Another One Bites The Dust. Take that as a triple threat! Indeed, it's such a good sequence that the show falters somewhat with the subsequent Hammer To Fall and These Are The Days Of Our Lives marking time even though the latter is a strong vocal moment for Hewitt. The aforementioned Williams plays the henchman of the piece as Khashoggi who can also belt out a song when called upon. 

To top things off there are a host of dancers, notably the Gaga Kids who open each act with Innuendo and One Vision respectively, and the Yuppies who bring a little sass and slinkiness to numbers such as Crazy Little Thing Called Love.  

In all it is a cracking evening's entertainment which had the audience on opening night begging for an encore. The applause was deafening when their wish was granted in the only way possible. 

Directed by Trevor Patient (who also did the lighting design), with Musical Direction by Chris Travaglini, Choreography by Una Genuino & Ashleigh Perrie, Artistic Director & Costume Design Katrina Patient, Sound Design Jordan Gibbs, Visual Effects Design Rory Henderson, and Wig Design by Axel Richards & Dean Misdale, We Will Rock You runs until 15 July at the Regal Theatre.

A Perfect Specimen - Black Swan State Theatre Company (30 June 2016)

There is much to like about this play that emerged from the development crucible of the Black Swan Emerging Writers Group. It is an exquisitely handsome production to look at from the detailed costumes to Joe Lui’s evocative lighting design to the velvet draped surrounds of the set. It is an interesting premise with rich dialogue that befits the theatricality of the subject matter and good performances, none finer than Greg McNeill’s Cornell Wurlitzer. Ultimately, however, the play didn’t work for me due to some scripting issues and, notably, a decision on how to present one of the central characters, the so-called Ape Woman, Julia Pastrana, played by Adriane Daff.

Indeed, the story is about how Pastrana’s husband Theodore Lent (Luke Hewitt) exploits her notorious appearance for financial gain, both as an ‘exhibit’ in a travelling freak show and for examination by curious physicians. When Pastrana becomes pregnant their relationship takes on all the aspects of a searing tragedy and there is no denying the power of some of these moments, notably the birth and its aftermath.

The essential concern is this. Pastrana is referred to and describes herself as a monster, hideous and grotesque, covered in fur. When first we see the character she is clad from top to bottom and sporting a veil. Once revealed, however, there is seemingly no attempt to disguise the elfin Daff’s delicate beauty. This is no monster; this is not someone to recoil from. The issue is further exacerbated by the fact that we never see how an audience reacts to her Pastrana; how humiliating those examinations might be. We are only told how difficult the character’s life is yet never witness it.

While I understand it might be problematic to present the character as a full on ‘freak’, this was far too safe an option. If you’re going to tell me over and over and over how hideous this person is then I’d rather you swing for the fences and possibly miss than seemingly avoid the situation. It is a critical suspension of disbelief issue. Daff is otherwise fine in the role though saddled somewhat with an exaggerated accent that made her sound like a naïve child at times.

There were also a few curious scripting issues. The play opens with a wonderfully theatrical Hewitt as carnival barker entreating us to be amazed and horrified at such a creature. It hooked me straight away and had me eagerly awaiting what comes next as any salesman might wish. Only to be disappointed when the next scene not only doesn’t reveal the ‘monster’ but takes us to a drawing room where Igor Sas (Doctor Gregory Alyokhin) gives a long monologue about Russian ghosts. 

Sorry, what? I thought we were talking about physical appearance and how we marvel at and fear those that are different. How inner beauty triumphs over outer monstrosity. A Russian ghost story felt thematically like a totally different play and it’s a lot of stage time to chew up so early. The essence of that scene, when we finally get to the point, is Alyokhin requesting to examine Pastrana and Lent coldly demanding a princely sum to do so. The delay in getting there stalled the momentum so precisely won at the opening.

Contrast this with the wonderfully written and beautifully performed monologue by McNeill as Wurlitzer recounts the tale of discovering co-joined twins. It cuts straight to the heart of not only the fascination with physical otherness but the beguiling economic implications for those who are poor beyond measure and the opportunists that prey on them. I was squirming in my seat at the gut-wrenching tale in all its manifest horror.

Likewise, the play ends with Hewitt reprising the opening introduction but now through the prism of all the tragedy and heartless gain as a result. It is a perfect conclusion as he recedes into the shadows, the character more monstrous than any he could ever hope to exhibit. Yet the play continues with a long scene that felt like the sort of epilogue you really would be better off Googling at home. Sure, there is some pleasure in watching two stalwarts of the local theatre scene in McNeill and Sas mixing it up but it was a redundant expository scene that leached away the impact of Hewitt’s exit.

The other player here is Rebecca Davis as the long and lithesome acrobat Marian Trumbull, a character who is not only cheating on her husband with Lent, but is concocting more extreme acts to remain relevant. Why would the punters pay to watch feats of skill when there is an ape-woman to behold? Bold and exuding more than a faint sense of desperation it’s a well-judged performance.

A couple of other excellent scenes feature Hewitt, first with Daff as the two are at loggerheads about what to do with the baby, his solution so implacably practical and horrific; the second as McNeill’s Wurlitzer takes Lent to task for going too far. For a man who has seen it all even Wurlitzer is disgusted by the depths Lent will go to and Hewitt doesn’t blink when pushing that envelope.

Black Swan sometimes falls too in love with the technical wizardry on offer and director Stuart Halusz’s decision to use a rotating stage – a central circle and an outer rim that both moved independent of each other – took me out of the ‘old world’ so meticulously crafted with music, costuming, lighting, sound design, props such as a working gramophone, and makeup. The slickness of revolving pieces of set into place worked against the sense of mystery and weight of history that hangs over the story. Actors could also be seen behind the string curtain moving props and pieces of set onto that revolving stage while scenes were in progress.

It is, however, undoubtedly an audacious tale by playwright Nathaniel Moncrieff and shows yet again the strength of the local writing talent in this state. What a wonderful opportunity to have it performed at the Studio Underground with such a strong cast. With some judicious rearrangement and editing of the script and bolder choices in terms of execution this could be a memorable work. At the moment though it doesn’t quite convince but is worth the price of admission to gawk at a theatrical curiosity newly given birth.

Written by Nathaniel Moncrieff, Directed by Stuart Halusz and starring Adriane Daff, Rebecca Davis, Luke Hewitt, Greg McNeill, and Igor Sas, A Perfect Specimen is on at the State Theatre Centre until 17 July.

*images courtesy of Daniel James Grant