Wicked - Stray Cats Theatre Company & Mandurah Performing Arts Centre (21 May 2016)

It was interesting to watch the response to the announcement last year that the amateur rights to Wicked had been made available. In many quarters there was much excitement that a beloved show was now able to be performed by community theatre groups around the country. This was matched by a healthy scepticism that it could be given justice with all the technical and vocal demands. A professional production had also been recently staged in Perth at the Crown Theatre with the incomparable Jemma Rix as Elphaba and Suzie Mathers as Glinda (who has now joined the West End cast). A tough act to follow.

It was not surprising that Stray Cats Theatre Company was to be the first to mount the production in WA. Director Karen Francis had access to a suitable venue – the Boardwalk Theatre in Mandurah – and had demonstrated the ability to consistently mount large scale, crowd pleasing musicals. Still, having seen the show in Melbourne in 2014 and last year in Perth, I was intrigued how Francis was going to tackle any number of challenges with the staging of such a dizzifyingly complex production.

Any doubts I had were soon put to rest as I walked into the theatre. There was indeed a dragon perched above the stage which came to life as the opening notes were played. The familiar cogs and clock design was apparent in the wings and along the railing to the orchestra pit. The map of Oz was projected onto a scrim. 

As the show progressed there was clever use of scrims, various backdrops, and lighting to facilitate scene transitions. The Bubble Galinda descends on during the opening scene was well rendered and the Wizard’s big talking head was impressively done. Most satisfying was that the first act showstopper, Defying Gravity, where Elphaba rises above Ozians and the audience alike was effectively recreated. Sure, there wasn’t the whizzbangery of its professional forebear but proficient and clever stagecraft and design made for a most credible substitute. My immediate impression was that a lot of time, thought, skill and resources had gone into the construction of the show. That was most appreciated.

This was reinforced by the attention to detail in other elements – the trademark Stray Cats large ensemble was beautifully costumed with a wide range of colourful and quirky outfits; the lighting design took full advantage of the rig at MPAC that no other community theatre venue would be able to match; and the 19 piece orchestra, again of a scale and composition most would fail to accommodate, was excellent under conductor David Hicks. The sound balance was good, and the clarity of the lead vocals was especially strong. There was a little bit of microphone crackle on the odd occasion from secondary characters in movement but the sound design and execution was otherwise very good.

Of course, Wicked relies on the performance of its two leads and in Kimberley Harris (Elphaba) and Lisa Taylor (Glinda) the show had a winning combination that not only sang well but gave strong acting performances. Taylor played the annoyingly bubbly and over confident Glinda with deft comic timing and infectious enthusiasm. Her rendition of Popular was a highlight. Harris brought great acting chops to the ultimate outsider in Elphaba and belted out Defying Gravity in terrific style while being wistful in the softer I’m Not That Girl. They worked well together – Harris’s intensity bouncing off Taylor’s comic shtick – but it’s in the quieter moments where the rivalry turns to friendship that they are most convincing.

The male leads didn’t fare quite as well. Joshua Towns was a lanky and handsome Fiyero but Dancing Through Life lacked flair and felt more mechanical than anything. Unfortunately I wasn’t able to see the complete transition from shallow rebel to committed ally of Elphaba. The storm that ravaged Perth caused a showstopper of its own as the power went out halfway through the second act. Erik Bunch played Dr. Dillamond for laughs and was prone to telegraphing every phrase with grandiose hand gestures. This undercut any sense of pathos for the character. The Wizard himself, Peter Sydney-Smith, also had a tendency to overplay to the audience especially during Wonderful which jarred next to the focus displayed by Harris in that sequence.

Of the other characters, Alyssa Burton, played the larger-than-life Madame Morrible with style while Cassandra Power came into her own as Nessarose at the start of the second act as her now Governess goes through a raft of emotions from being able to walk to reconnecting with Boq to ultimately losing him due to her own impulsiveness. It teetered on being overwrought but ultimately was a strong emotional sequence. Boq himself, played by Braeden Geuer, was a likable presence though the estrangement from Nessarose caught me a little by surprise this time round.

Mother Nature unfortunately had the last word as it proved more powerful than any stage magic. The power outage caused a premature end to the matinee and led to the evening show being cancelled. In response, an extra show was announced for 10am on Sunday for those ticket holders who missed the full show or evening performance.

While I wasn’t able to avail myself of this opportunity what I saw and heard up until that point was a good production of the mega-hit musical. It handled the technical challenges in style and featured two strong performances in the lead roles. It played to Francis’ strengths – big set-pieces with a large ensemble; and was well played by the orchestra. It was refreshing to see the skill on display across all departments to bring such a production to life which is testament to the talent pool in Perth. 

Chitty Chitty Bang Bang - Stray Cats Theatre Company & Mandurah Performing Arts Centre (17 October 2015)

It’s a familiar scene - parents and children milling around performers fresh from their final bows asking for autographs and posing for photos. Not only the stars mind you but members of the ensemble are there as well to greet family, friends and audience members. It’s an impressive sight. The children all excited as they clutch the programme with a whole back page devoted for autographs. The cast are still in costume and makeup, no doubt amped with adrenaline immediately after the matinee performance. There’s a real buzz in the air.

Stray Cats Theatre Company and the Mandurah Performing Arts Centre sure know how to put on a crowd pleasing, family friendly spectacle. This is the third in what I’ll refer to as Stray Cats’ Classic English Family Musical Trilogy that commenced with last year’s Oliver!, continued with Mary Poppins earlier this year and ended with a punctuation mark as Chitty Chitty Bang Bang took flight.

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. The local community support is excellent and the venue is a jewel only an hour south of Perth. That support is rewarded with outstanding entertainment.

As I was sitting upstairs in the front row of the dress circle looking down on the opening scene it struck me that these shows are the only time I see upwards of 60 performers on stage. It simply doesn’t happen anywhere else. Laudable is how many are young children. Even more remarkable is the attention to detail for the costuming of every single person on stage from the youngest to the oldest. There’s no scrimping here. They all have a role and they all look the part.

Director Karen Francis always dares to be ambitious in the scale of her productions; from the large casts to the impressive sets and lighting design to the choice of musical itself. Visually they are a feast. This was full of wonderfully colourful backdrops and the transition between scenes was slick as set components were dropped in behind a temporarily lowered screen as the orchestra played on. The centrepiece though was the car itself. Beautifully recreated and functional it drew appropriate applause when it lifted, tilted and ‘sprouted wings’ with the Potts family and Truly on-board. 

An occasional criticism I have had in the past is that the orchestras for these productions can be variable in quality. Any fear of this was quickly dispelled in the Overture. Under the baton of assistant musical director Vanitha Hart they played very well; the best musical accompaniment since 2012’s Hairspray for mine.

To the performances and a few of the headliners from Mary Poppins featured again. Jon Lambert played Caractacus Potts, another father with two precocious children and, dare I say it, using the exact same accent as his Mister Banks. This was only a minor complaint, quickly forgotten, as he gives yet another charming performance. Lambert’s solo number Hushabye Mountain was his standout vocal moment and a highlight of the show.

Kristie Gray’s run of memorable characters continues moving from Mary Poppins to Truly Scrumptious with aplomb. Gray has a beautiful singing voice with excellent clarity and power; the featured solo Lovely, Lonely Man a highpoint as was her Doll On A Music Box. In terms of singing ability she was closely followed by Kim Moore as Baroness Bomburst who featured in flamboyant number The Bombie Samba and worked well with Joshua Towns (as the Baron) in Chu-Chi Face.

Further Mary Poppins alums, Daniel Nixon and Nicholas Gaynor, provided great humour as the bumbling Vulgarian spies tasked to acquire the flying car. Scott Hansen added some vaudeville style menace as the Child Catcher while Rory Ellis was solid as the Toy Maker. Then there were the Potts children played with great flair by Sebastian Cruse and Marissa Pereira.

There was plenty of colour and movement epitomised by another highlight - Me Ol’ Bamboo - and the aforementioned The Bombie Samba. In many ways it’s a silly story with plenty of farce but darker moments as well as we discover the children banished to the sewers. It all has a happy ending with the audience clapping along to the title number as the family fly safely home.

Chitty Chitty Bang Bang is fabulous family entertainment and I felt quite invigorated as I left the venue. It comes as no surprise to me then that Francis has acquired the amateur rights to the blockbuster Wicked, the definition of a big, crowd pleasing musical. Given her track record it will be fascinating to see how she tackles the technical requirements to make that show literally fly as well. On the evidence of Chitty Chitty Bang Bang it will be something to see!

Originally written by Ian Fleming with the script adapted by Ray Roderick from the MGM Motion Picture of the same name; Music by Richard M. Sherman and Robert B. Sherman; Directed by Karen Francis with Choreography by Ashleigh Riley and Megan Doohan, Musical Direction by David Hicks and Vocal Direction by Kristie Gray; and starring Jon Lambert, Kristie Gray, Sebastian Cruse, Marissa Pereira, Peter Sydney-Smith, Nicholas Gaynor, Daniel R Nixon, Kim Moore and Joshua Towns.  

Mary Poppins: The Broadway Musical - Stray Cats Theatre Company & Mandurah Performing Arts Centre (24 May 2015)

The evening before the Sunday matinee I was walking along the Mandurah Boardwalk and there was a group of young teenage girls in front of me all singing Chim Chim Chere-ee. “This is an encouraging sign”, I thought to myself. So it proved with the final outing of a five show run packing out the spacious Mandurah Performing Arts Centre with a high proportion of children in attendance. The cacophony at intermission was quite something as was the excitement after the show with many of the cast still in costume including Mary Poppins herself emerging to pose for photos and sign autographs. Fair to say the children loved it with more than a smile of remembered childhood from their parents.

There is no doubt this is a glorious production to look at – from the colourful costuming of the massed cast to the detailed backdrops to the multilevel set itself depicting the Banks household – there was an audible gasp when the stage curtains first opened. Director Karen Francis certainly likes to put on a spectacle and the scope and ambition of her big, crowd pleasing musicals is both a joy and proven formula to attract a crowd. More power to her for the ongoing results, creatively and one would hope, financially to sustain the run of productions other independent theatre companies simply don’t have the resources to mount on this scale.

In Kristie Gray she has a performer who shines in the eponymous role made most famous by Julie Andrews in the Disney movie. Gray has a wonderful voice that did more than justice to the cavalcade of beloved songs. An accomplished singer, she also provided the vocal direction for the some 50-60 cast members. What was equally as impressive was her commanding stage presence – there was a confidence here that really galvanised the whole show. Her work with the Banks children played by Sebastian Coe and Maren Cosby was particularly excellent.

Daniel R Nixon portrayed the chimney sweet Bert with real cockiness and flair while Helen Kerr was a standout as Winifred Banks, the wife and mother who struggles to find her own identity next to husband George (Jon Lambert) and within his social circle. Both have fine singing voices as well; Nixon bringing the Cockney, Kerr the sweetness in their feature songs, Chim Chim Cher-ee and Being Mrs. Banks respectively. 

Lambert has perhaps the unenviable task of playing the distant Mister Banks whose emotional detachment is at the core of most of the obstacles the family face. He does so with a certain gruffness and exasperation that is likeable in its own way. The character’s preoccupation with events at the bank where he works is paid off nicely with a funny burst of manic energy as Lambert lets Banks finally loosen up.

Coe and Cosby were suitably wide-eyed or precocious as required and there was a set of colourful characters Mary Poppins and her charges encounter along the way, foremost among these being Bronwyn White’s Miss Andrews who is the closest thing to being the villain of the piece in an over-the-top portrayal that was amusing and eardrum threatening! Jeanette Southall’s featured song as the Bird Woman was cruelled by her microphone cutting out halfway through Feed The Birds so I was pleased when she was able to be heard in a brief reprise in the second half. Jo Bickford and Nicholas Gaynor added physical comedy as the hired help and Brad Tudor high camp as Mrs Corry.

The scene transitions were very slick and Francis likes to fill the stage with a big ensemble full of colour and movement (Choreography by Andrea Beissel) for the main set pieces. The highlight undeniably is Supercalifragilisticexpialidocious where the massed cast found an entirely new gear and really attacked the lyrics and choreography with relish. This is later reprised at the end of the musical and it was an energy level that I would have liked to have seen a little more of throughout. The other major highlight for me was Step In Time with Bert and the other chimney sweeps singing on a well depicted rooftop. Beautifully lit and performed it was quite an evocative moment. 

Finally, the 12 piece Orchestra under the baton of Conductor David Hicks generally played well though occasionally the brass section felt a little out of sync for mine.

The star, however, is Gray as the flying nanny and indeed she does, albeit briefly, with the aid of a harness. The children loved it along with the flying kites, the movable statues and the brief appearances of a real life dog that, if I’m not mistaken, once belonged to a certain Dorothy Gale in another time and on another stage! 

This was a fun production of an enduring family classic that was enthusiastically applauded as the cast took well deserved final bows.   

Quiet Please, There's A Lady On Stage - Fringe World (31 January 2015)

The subtitle says it all – The Music of Peter Allen, Liza Minnelli and Judy Garland. Performed by Ryan Taaffe, Elethea Sartorelli, and Rachel Monamy respectively, this was a collection of great songs including classics such as Over the Rainbow, Cabaret, New York, New York, the Oscar winning Arthur’s Theme, and the unofficial Australian National Anthem for all ex-patriates, I Still Call Australia Home.

They couldn’t afford a band on a Fringe budget but they did have the Minnellium Dancers – Allen Blachford, Hillary Readings, Jessica Helen, and Rebecca Jayne – who contributed the requisite colour and movement to make this a most enjoyable hour of cabaret. 

    

Sartorelli added the pizazz as Liza with a Z; Monamy the moxie as Garland; while Taaffe contributed a touch of snark as the three shared good-natured banter between songs. That’s not to say there weren’t a few jabs along the way – Garland’s battle with pills and booze; the doomed-to-fail marriage of Minnelli and Allen; and Minnelli’s struggle to cope with the enormous shadow of her mother – were all touched upon.

The conceit of the show is that it’s Minnelli’s story and Sartorelli, fresh off winning a Finley Award (Best Supporting Actress in a Musical for Xanadu), is excellent with a wonderfully energetic performance and powerful singing voice. Of course, Garland and Allen can’t help but interrupt – we’re talking some huge personalities here - and Monamy is impressive as the mother who constantly strives to upstage her daughter, at one point showing Minnelli how The Trolley Song should really be done. The competitiveness between mother and daughter is brought to life in perhaps the best sequence of the show that included Don’t Rain On My Parade. 

Monamy also has a big voice and the two of them together were a potent combination. It’s unfortunate that Garland’s signature song from The Wizard of Oz was drowned out a little by an over loud backing track (the only occasion this happened).

Taaffe (himself a 2014 Finley Award winner as Best Director for Xanadu) imbues Allen with the snide remark or Ocker cheekiness that powered a lot of the humour. I Go To Rio gets an obligatory maraca-styled performance with no less than Garland and Minnelli on backing vocals! While I Still Call Australia Home generated the mandatory audience participation I was more enamoured of the highly personal Tenterfield Saddler and Don’t Cry Out Loud was another strong number.

While the songs were being performed images of the real life Garland, Minnelli and Allen were projected on the back wall as well as posters from movies and other snapshots. These did much to visually establish their relationships and career highlights.

With three powerful voices on stage sometimes the sound mix struggled to adjust but this was a well sung and charming trip down memory lane with a nice sense of humour and a roster of terrific songs. It didn’t take much encouragement for me to Get Happy and I’ll confess to bouts of toe tapping as well.

A most enjoyable interlude at one of the many Fringe outposts outside the CBD, this one being the Mandurah Performing Arts Centre which had a real festival atmosphere with plenty of stalls... and the hot dog consumed before the drive home wasn’t too bad either!

Top Ten Theatre Productions in 2014 - Musicals & Cabaret

It was a big year for musicals, especially comedy musicals. From trailer parks to roller skating rinks, from Transylvania to the vastness of space, and even the Hollywood of the future to alien invasions in 1950s American suburbia, it was a wild ride. WAAPA proved yet again why they are the pre-eminent training academy for musical theatre in the country while the Koorliny Arts Centre had another strong year. There was the further emergence of a local writing and performing duo whose audacious ‘holiday special’ presages a very bright future.

To my favourites:

1. West Side Story (WAAPA)

A spectacular production at the Regal Theatre boasting the combined might of WAAPA’s second and third year musical theatre students and a host of talented students from all other departments. Throw in a wonderful set, an orchestra in fine form, and one of the best ever musicals and it was a highlight of the year.

"It’s not a feeling I get often but the buzz around WAAPA’s mid-year showcase production at the Regal Theatre has been enormous and I was hoping, expecting, pleading for magic and that’s exactly what was delivered – magic of the most potent kind. If you had told me that baton was a wand I would have believed you."

2. Children of Eden (WAAPA)

A production that took me totally by surprise but left me thoroughly impressed as WAAPA’s second year students announced their arrival in exuberant style.

"I’m happy to report that any reservations I had disappeared almost immediately in what turned out to be a spectacular production. The second years were uniformly excellent; it is a beautiful score with wonderful songs; and the venue was comfortably configured and used to maximum effect. I walked away with a real sense of the ‘wow’ factor hence my delighted surprise."

3. Hair (WAAPA)

WAAPA’s third year students kicked off their final year with a bang with this performance of the rock musical that harkened back to the era of flower power and the Vietnam War getting the tone and atmosphere spot on.

"The main players were more than ably supported by the rest of the cast who had a wonderful sense of energy and chemistry as they genuinely enjoyed the playful choreography and playground style set. Then there was the eight piece band that was in terrific form led by musical director David King."

4. Oliver! (Mandurah Performing Arts Centre) 

You know it’s been a good year when this joyous production is only fourth on the list. One of the highlights of 2014 was the massed cast including some 40 children performing Consider Yourself.

"When musical theatre gets it right, when everything is firing on all cylinders – the performances, the vocals, the orchestra, set, costume, lighting,everything – it is a sight and sound to behold."

5. Merrily We Roll Along (WAAPA)

The final production for WAAPA’s sterling third year class who lapped up Sondheim’s musical in the more intimate Roundhouse Theatre.

"After the big, elaborate musicals of the last few days over in Melbourne this show was a pleasant reminder that a stripped back production such as this in an intimate setting with talented performers and musicians can be just as entertaining and memorable. And yes, Mister Sondheim, I was tapping my feet more than once!"

6. The Jones/Woods Holiday Special (Holland St Productions)

A retrospective greatest hits package as hilarious as it was audacious that featured Gravity the Musical that lampooned and adored Alfonso Cuaron’s film in equal measure.

"This company of talented performers clearly relished working with such quality material and, again, there was real chemistry between them all. The fact that the show was put together with something like only three weeks rehearsal time is testament to their abilities. The audience response was as enthusiastic as anything I’ve seen in Perth – foot stomping intensity in fact! "

7. Young Frankenstein the Musical (Koorliny Arts Centre)

The very first production I saw this year and what a way to start. The kind of craziness that only Mel Brooks could summon brought to kooky life down at Koorliny.

"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."

8. The Great American Trailer Park Musical (Roleystone Theatre)
Another great surprise of the year. What a raucous, hollerin' and a stompin' good time this was with a lovely sweetness under all that big hair, outrageous costumes and trashiness.

"What impressed me most is that beneath the raunchy and crass exterior that poked fun at the ‘white trailer park trash’ stereotype there was an underlying sweetness and genuine affection for these characters."

9. Point & Shoot: A New Musical (Holland St Productions)

I was fortunate enough to see the additional performance that was added to this show's run at Fringe. I can see why there was such a demand as this is clever, funny, and wildly entertaining. 

"This is an hilarious and pointed satire of Hollywood and the filmmaking business with a clever plot ("twist") and biting lyrics. The four actors play multiple roles and instruments and all are in fine voice. The transitions are seamless and this rockets along at a frenetic pace."

10. This Is Why We Can't Have Nice Things (Gillian Cosgriff)

Another show I was lucky to catch at the tale end of its run at Fringe. Based on Cosgriff's own experiences the songs here are pointed, funny, and insightful, delivered with real panache.  

"A front row seat meant I was only 2-3 metres away from Cosgriff who proved to be a vivacious, witty, and very charismatic presence as she combined original songs with insights into her life and that of her generation, those of the already nostalgic mid-twenties."

Female Performer of the Year - Suzie Melloy

In a spectacular show that did so many things so well, Melloy stood out as Anita in West Side Story. She "gives a star making performance as the feisty Anita – she is simply superb and a real charismatic presence."

Male Performers of the Year - Tyler Jacob Jones & Robert Woods

I am usually the first person to rail against ties but you can't really talk about one without the other when it comes to musicals. Jones and Woods as creative collaborators and performers are a potent combination with a huge future.

Special Mentions:

Rebecca Hetherington - Gives a fine performance as Mary, the heart and soul of Merrily We Roll Along. "Not only is her acting impressive but vocally she shines..."

Jesse Angus - A full tilt performance in Young Frankenstein where Angus "attacks the role (of 'Fronkensteen') with impressive energy and the appropriate level of mania."

Jon Lambert - Unrecognisable as Fagan in Oliver! after his stint as the Monster in Young Frankenstein. A very charismatic performance. 

Madeleine Shaw - Steals the show as the eponymous lead in Cinderella. The petite performer has a divine singing voice and confident stage presence.

Kohan van Sambeeck - seemingly ever present as a musician in many of the WAAPA productions, van Sambeeck also found time to be Musical Director for The Last Five Years and compose his first original score for the play Closer. 

An excellent year with many other great performances and a couple of shows unlucky not to make the final ten. Thank you to all the casts and crews, musicians, front of house staff and all the other people who make the magic of theatre come to life. I look forward to seeing you all again in 2015!

Oliver! - Mandurah Performing Arts Centre (7 June 2014)

There was a moment during the first act of Oliver! that I caught myself grinning like a loon. On stage over sixty cast members including some forty children were performing a standout number that was simply joyous. 

When musical theatre gets it right, when everything is firing on all cylinders – the performances, the vocals, the orchestra, set, costume, lighting, everything – it is a sight and sound to behold. The joy is evident in those on stage (and implicit in the music pit) and is reciprocated by the audience in spades. It’s what makes musical theatre so magical - that joy and sheer optimism is infectious and a counterpoint to the anti-heroes and cynicism that populate much of the small and big screen these days.

This is the third production I have seen at the Mandurah Performing Arts Centre directed by Karen Francis after Hairspray (2012) and The Phantom of the Opera (2013). Francis picks crowd-pleasers that pull eager audiences and are big in scope and ambition. In Oliver! she has outdone herself - a huge cast of well over sixty that features forty children; a twenty piece orchestra that was in top form; and what I’ve come to expect from all of her productions, impressive set design that takes advantage of the spacious MPAC stage and attention to detail in the costuming. What especially stands out with this production is the lighting – it’s a beautiful looking show with copious use of smoke to enhance the lighting design.

Then there are the songs. Oliver! is littered with memorable numbers – Consider Yourself, You’ve Got To Pick A Pocket, Oom-Pah-Pah, As Long As He Needs Me and so on. It was during Consider Yourself that I was smiling away happily but every number is so well staged and sung. It is foot-tapping, rousing material that is thoroughly entertaining.

To the story - Oliver (Ryan White) is an orphan in a workhouse who has the audacity to ask for more food from Mister Bumble (Scott Hansen). For his trouble he is sold to undertaker Mister Sowerberry (Rory Ellis) to be his apprentice. Oliver promptly runs away and ends up meeting the Artful Dodger (Bailey Bridgman-Peters) in London who takes him to Fagin (Jon Lambert), the leader of a band of pickpockets. Oliver’s first attempt as thievery doesn’t go well, however, he ends up with the wealthy Mister Brownlow (Peter Sydney-Smith) who could be the provider of a better life. This doesn’t sit well with Fagin’s notorious associate Bill Sikes (Tom Hennessy) who abducts Oliver over the protests of his put upon girlfriend Nancy (Sky Ogier). Events come to a head with a tragic end for Nancy, the demise of Sikes, and Oliver’s rescue. Fagin remains as he ever was… or will he seek an honest living as he disappears off stage laughing?

That brief summary hardly does justice to a story populated by so many other memorable characters. It also bears some resemblance to that other ‘orphan’ musical, the one from across the Atlantic – Annie – that was on at Koorliny Arts Centre recently. Oliver! is much darker in places but both are preoccupied with the quest to (find and) better yourself and interestingly the involvement of a wealthy benefactor to assist you in doing so (Brownlow, Warbucks).

Like Annie, the title role here is critical though it could be argued that Oliver is quite a passive character mainly reacting to events that swirl around him. White is solid as the eponymous character and has a couple of lovely vocal moments, especially with Where Is Love. Hennessy is a suitably menacing Sikes and his showpiece number My Name is very well done. Sky Ogier is a standout as Nancy with a wonderful rendition of As Long As He Needs Me and a raucous Oom-Pah-Pah. Hansen has enormous fun as Mister Bumble and Jon Lambert is excellent as a charismatic Fagin. To think Lambert was the lumbering monster in Young Frankenstein earlier in the year and the contrast is astonishing. Bridgman-Peters is a cheeky Artful Dodger with the rest of the supporting cast all good. Then there is the huge ensemble mainly comprised of children which is a delight especially when the whole company is on stage.

There are so many highlights but three that immediately stand out are: the jaunty Consider Yourself is superb; As Long As He Needs Me strips away the multitudes to shine a spotlight solely on Ogier and she excels; and the extended Who Will Buy features members of the ensemble in fine voice, including Samantha Ferguson, in what is quite a moving sequence. I should also mention the on-stage violin work of William Huxtable who I initially thought was mimicking before realising, no, he actually is playing and is very good!

This really is an impressive production and I apologise to all those people I haven’t mentioned. When it finished a woman turned to me and exclaimed, “Wasn’t that brilliant?” It’s hard to argue otherwise and there was certainly a buzz as the audience was leaving the full matinee session.

Oliver! is directed by Karen Francis with Musical Director David Hicks, Choreographer Andre Beissel and Vocal Director Kristie Gray. There is only one performance remaining, Sunday at 6.30pm which, according to the MPAC website, is deservedly sold out. 

Hairspray: The Broadway Musical - Mandurah Performing Arts Centre (17 November 2012)

What better than a pleasant drive on a Saturday afternoon to spend time with the nicest kids in town? Yes, The Corny Collins Show was broadcasting live from downtown Mandurah and my, what a turnout of talent it attracted! This was an exceptionally strong singing cast accompanied by a live band in fine form. But more of that - much more - later…

First, let’s set the scene. It’s 1962 in Baltimore and Omar Little is several decades away from picking up a shotgun in anger. Okay, my knowledge of Baltimore is a little sketchy, The Wire references aside. What we do know is that the presumptive villainess of the piece, Corny Collins Show producer, Velma Von Tussle (Natalie Burbage), isn’t down with the whole idea of racial integration. Her daughter Amber (Victoria Luxton) expects to follow the family tradition of entitlement and beauty queen status and is the featured talent along with resident heartthrob Link Larkin (Sam Chadwick). What to do then when overweight teenager Tracy Turnblad (Sam Ferguson) not only joins the show but has ideas of integrating dancers from ‘the other side of town’ including her friend Seaweed (Jason Arrow); stealing Link away from Amber; and usurping her Miss Teenage Hairspray status as well?!

Okay, the plot is as thin as a pancake left out on Kwinana Freeway during peak hour but it doesn’t matter one jot. The songs are terrific and it moves at a cracking pace. In fact it only slowed down whenever minor plot mechanics intruded especially towards the end of the first act as plans are formulated and early second act as they are (re)committed to. Other than these moments there are few dialogue heavy scenes which serve this well. This is a far more thematic piece which, at its heart, deals with the issue of racism in America at that time. It can be a little too overt and borderline preachy but I chose to see it as an outsider with a dream (Tracy) who, in striving to make that dream come true, creates a better reality for herself and those around her. An allegory for the Civil Rights movement, sure, but perhaps just as valuable for those who don’t “fit in” whatever the situation.

The vocal talent was outstanding across the board and even performers in smaller roles had an opportunity to shine. For example, in one number three performers reminiscent of The Supremes were singing backing vocals but let loose with individual bursts at the end that was jaw dropping. Natalie Burbage also gave us some vocal fireworks towards the end of Act One. So many other ‘big voices’ in the cast but special mention to Sam Ferguson who, at only 17, was very impressive in the lead role; Jason Arrow, who added a real soulful flourish to proceedings; and Ebonyelle Smith who had, in my view, the standout song, “I Know Where I’ve Been” which she hit out of the ballpark. Georgia McGivern as Penny also snuck up on me and her character perhaps went through the most significant arc.

Craig Griffen threatened to steal the show as Edna Turnblad and his set piece with Jack McKenzie (Wilbur Turnblad), “Timeless to Me”, was funny, sweet and endearing. I should mention there is a lot of humour in this, including some sly period references and innuendo that may have sailed over younger audience members but had me chuckling away happily. Natalie Burbage and Victoria Luxton were perfectly matched as mother and daughter and while Velma Von Tussle was perhaps more of an over-the-top villain, Luxton played Amber, the bitchy rival to Tracy, with the right mix of sassiness and disbelief (as events turn against her). Tate Bennett played the man himself, Corny Collins, with great charm and cockiness.

This was a big, colourful production and a live band added so much to proceedings. The costumes and choreography were fantastic and it has a cast of some 28 strong so my apologies for not mentioning them all! The only technical hiccup was a minor problem with one of the performer’s microphones towards the end but other than that it was a thoroughly entertaining afternoon. I was also delighted to see a large turnout for a Saturday matinee. Such a big production comfortably inhabited the Mandurah Performing Arts Centre venue.

Lastly, two quick observations that I found quite charming – there was a young lad in front of me, maybe ten years old, who kept looking over his shoulder to try and see the “big board” the actors were “staring at” as the results of Miss Teenage Hairspray came in at the end. Loved that! And as I left a girl of maybe six was skipping through the lobby singing “you can’t stop the beat”. I’d say that is a job well done!

Congratulations to director Karen Francis and all the performers, crew and behind the scenes staff involved. A great show!