Top Ten Theatre Productions in 2018 - Musicals, Cabaret & Concerts

If the goal of a theatrical work is to make an audience feel something, whether that be through laughter, tears, outrage, self-reflection, inquisitiveness, discovery or simply awe, then it's been a successful 2018.

It's perhaps no coincidence that three of the top ten productions in this category are Stephen Sondheim musicals. Oftentimes you can experience all of the above in the one production from this bonafide master.

This year, however, the top musical moved me to tears in a sublime exploration of what it means to create art. To be affected so profoundly by a piece of theatre is a boon beyond measure.

My top ten musicals, cabaret and concerts of the year:

1. Sunday in the Park With George - WAAPA

Yes, I cried. Both nights I went. Children and Art and Move On had tears rolling down my cheeks. Did I like the opening sequence in the second half? Not overly. But the first half is sublime as is the modern day return to the Island of La Grand Jatte. Every aspect of the production was exceptional - set & art design, costuming, lighting and sound, the orchestra - plus two wonderful lead performances.

"There was a buzz around two years ago that The Drowsy Chaperone was the best production in years at the Geoff Gibbs Theatre. Yes, it was that good. I'm here to tell you Sunday in the Park with George is right up there with it. Maybe even better and that's a debate I'm happy to have. This was an exceptional production of what is a masterwork by Stephen Sondheim and James Lapine."

2. Into the Woods - Midnite Youth Theatre Company 

Not all fairy tales have a happy ending in the hands of Sondheim & James Lapine and the tonal shift after interval is jarring. But the storytelling is inventive and it's an extraordinary collection of songs. The young cast and orchestra tackled it with real verve in a most entertaining production.

"The show was led by three central performances that were very good indeed - Aleisha Archer as a feisty Little Red Riding Hood; Imogen Rabbitte, full of compassion as the Baker's Wife; and Cat Perez soars vocally and in scene chewing intensity as the Witch."

3. Moonshinin' - Perth Cabaret Collective 

What a way to end the year! A rollicking couple of hours in the hands of a brilliant jazz band and three lead vocalists each with their own distinctive style and personality. It all gelled into an irresistible foot tapping evening Downstairs at the Maj. 

"The music is timeless – the slide of the trombone; the slap of the bass; fingers tinkling the ivories; the wail of a trumpet; the caress of a saxophone; the crispness of a snare. Together, sublime. Music to make you smile, to tap your toes, to sway in time to the beat. Then you add the voices. Playful and sexy, crooning, snarrrrrrrrling, soaring. Music and vocals working in harmony."

4. Taryn Ryan: West End

A farewell concert at the Ellington for a performer who made her mark in only a few short years in the independent theatre scene. An eclectic mix of songs from “Tin-Pan Alley, classic Broadway, West End blockbusters and European cabaret, concept albums, pop/folk crossovers, and contemporary Australian musicals with guest performer Megan Kozak adding her trademark vocal fireworks. 

"There is no doubt Perth is losing a unique talent. But there was a sense that Taryn has outgrown us and that bigger and better things await as she chases her dreams on the other side of the world. On the evidence of her body of work to date and this memorable performance London will be gifted with an accomplished performer who will flourish in the spotlight."

5. Cirque du Rhythm - WAAPA 

I have only recently been going to the concerts held by the percussion students who go under the moniker Defying Gravity. They are such joyous affairs with music from around the world performed on all sorts of instruments you might not normally hear. There is a real camaraderie between the students and with the guest performers, many who are successful alumni. 

6. Jones & Woods Retrospective - Holland St Productions

You're guaranteed to laugh your arse off at any of the musical comedies created by Messrs. Jones and Woods. Put together excerpts from all of those shows and you'll be reaching for an oxygen mask such is the sheer inventiveness of their humour and execution. 

"Their roster of productions has won multiple awards, toured nationally and internationally, and are among the best works created in this state in any performance medium in the last decade. My personal favourite, Point & Shoot is a spectacularly good work. But then all their shows are gems."

7. Assassins - Black Swan State Theatre Company 

The production started a little slowly and was perhaps lost in the cavernous Heath Ledger Theatre. But when you have a roster of talented vocalists and such an audacious concept for a musical then it's not long before it wins you over. Features one of my favourite moments when The Balladeer turns into something far more sinister. 

"Darkly humorous and inventive it's a cracking show. The Black Swan veterans were in fine form but the delight for me was seeing so many recent WAAPA graduates - Finn, Nick, Mackenzie, Natasha, Cameron, and Nathan up there on the Heath Ledger stage and doing so well in a high quality piece of theatre."

8. 'Tis the Season... - Maverick Newman & Stacey Thomsett

For people who like their festive season a little bawdy this was a sleek, laugh out loud funny, and inspired cabaret show poking fun at all sorts of social woes magnified under the pressure cooker of the family Christmas. 

"The original songs are clever and pointed in their observations but never shy away from some dark home truths while being hilariously delivered by Newman and Thomsett. And what a combination they are – Thomsett plays Bonnie as a character with a perky disposition whilst seemingly craving acceptance from her brother; while Newman is all faux outrage and confidence as Bailey."

9. From Marathon to Waterloo, In Order Categorical - WAAPA

I can't claim to be a Gilbert & Sullivan aficionado so this snuck up on me as an absolute treat. Performed on a gloriously presented set by the beautifully costumed and lit classical voice students, this production put a smile on my face from start to finish.

"Staged on a sumptuous set with accompaniment on piano by musical director Marilyn Phillips, the gorgeously costumed students sparkled. There was wit and joy aplenty and those glorious voices soared especially when the massed company was deployed."

[You might know that I detest lists that have ties as being lazy. There were genuinely four productions in consideration for the final spot on this list and the easiest thing in the world would be to name them all. However, I like to torture myself by making a decision. So, after much consideration and agonised hand wringing...]

10. Rock of Ages - Koorliny Arts Centre

Powered by an eminently likeable performance from Matthew Arnold as Drew with notable support from Timothy How as Lonny this was a raw and raucous production. The tribute to 80's power ballads and rock standards was all good cigarette-lighters-waved-in-the-air fun. 

Female Performer of the Year – Prudence Daniel

Such an assured performance as Dot in Sunday in the Park With George. Daniel sang beautifully and handled the dense lyrics faultlessly. But it was the depth of her acting that elevated this to something truly special. From embracing the inherent joie de vivre of the character to the disappointment of knowing Dot will always be second to her lover's obsession. Then the transformation to the much older Marie in the second half before the emotional triumph of Dot's return at the end. Extraordinary.

Male Performer of the Year – Jarrod Draper

Handled the demanding role of Georges Seurat and his grandson George with an aplomb that belied his age. Worked incredibly well with Daniel to establish the emotional core of their relationship and the main thrust of the piece in the first half. Switched gears to play the modern day grandson who returns to the site of the famous painting to encounter Dot in a moving final sequence. Sang well including the famous Finishing The Hat and does a mean dog impersonation to boot!

Special Mentions:

Will O'Mahony 

Added real flair portraying Charles Guiteau in Assassins with his The Ballad of Guiteau being a standout moment as he milked the walk up the stairs to the gallows with outstanding comic exaggeration. 

Elaina O'Connor

Won me over with an utterly infectious, high energy performance as Elle Woods in Legally Blonde. O'Connor was beautifully costumed, so totally likeable in the role, danced and sang with winning charm. 

Finn Alexander

Conveyed such a relaxed stage presence as his Balladeer commented on events before undertaking the startling transformation into Lee Harvey Oswald in Assassins. Alexander also showcased a wonderful voice that stood out in a cluster of excellent vocalists.

Pavan Hari 

Seemingly everywhere in his final year at WAAPA - composer, percussionist, dancer - he added to his Defying Gravity performances with contributions to The Crucible (composer), Ajax in Afghanistan (musical director) and percussionist for In The Heights. A charismatic performer and inventive composer you sense he is on the cusp of being a superstar in the world of percussion.

Cat Perez 

Perez had an excellent end to the year featuring as The Witch in Into the Woods where she displayed powerhouse vocals and a knack for stealing every scene she was in. Backed up with a harrowing portrayal in an original play staged at Murdoch's Studio 411. 

Jessie Gordon

I couldn't leave Gordon off any list of notable performances for the year. She was in fine form on her return from Spain with a characteristically mesmerising outing in Moonshinin'. An outstanding vocalist with well honed stagecraft, Gordon brings the glamour and sexiness mixed with an aura of mischievousness that is an irresistible combination.

Moonshinin' - Perth Cabaret Collective (6 December 2018)

Take a few flights of stairs off Hay Street into the bowels of His Majesty’s Theatre, order a drink, take a seat, close your eyes, and listen. 

It’s not hard to imagine you’re in a nightclub in Berlin during the height of the Weimar Republic; or a club in New Orleans pretty much in any decade where jazz reigns supreme; perhaps even watching the Kelly Sisters perform in a dive in Chicago… before, you know, that unfortunate incident.

The music is timeless – the slide of the trombone; the slap of the bass; fingers tinkling the ivories; the wail of a trumpet; the caress of a saxophone; the crispness of a snare. Together, sublime. Music to make you smile, to tap your toes, to sway in time to the beat. Then you add the voices. Playful and sexy, crooning, snarrrrrrrrling, soaring. Music and vocals working in harmony. 

The Perth Cabaret Collective band and the talents of Jessie Gordon, Mark Turner, and Cougar Morrison.

An irresistible combination in the packed venue known simply as Downstairs at the Maj. Playing jazz standards and classic songs for almost two hours on an early summer’s night in the city. It doesn’t get much better than this.

Open your eyes and you are presented with a constellation of lights in the backdrop that will pulse and change colour throughout the evening. Illuminating the band, the performers, and the mood.

The sense of timelessness is aided and abetted almost immediately by Jessie Gordon appearing on stage like a movie starlet from Hollywood’s Golden Age. Gorgeous gown; winning smile; all confidence and sass. She works the audience with consummate ease before launching into Ain’t Misbehavin’ that sets the tone for what’s to come. Playful, sexy, and a little bit naughty.

Mark Turner is all suaveness and self-deprecation as he joins his childhood friend onstage. That friendship is immediately discernible in their banter and comfort in the other’s presence. They sing Dream A Little Dream to each other as if there was no one else in the room. An intimacy and authenticity that is compelling to experience. 

Then throw in the wildcard. The Queen of The Court, Cougar Morrison, who adds a sense of unpredictability and edginess. If it’s possible to upstage Gordon in the fashion stakes then Morrison does so with a battery of sequins, bold accessories, bolder make-up, and more costume changes than a Cher concert. But the lad can hold his own in the singing stakes while cutting a striking figure in a skin-tight gown. 

Morrison’s banter is far bawdier and he’s aware that his appearance may unsettle some of the punters. His mischievous “can you smell the fear?” as he prowls through the crowd at the beginning of the second set is priceless. But then so too is the acknowledgement of his parents in the audience and the support they have given him in his chosen career. It’s a touching moment, echoed later as Turner greets his own folks.

The nine-piece band under musical director Jess Herbert is in cracking form. They all get their moments to shine and together they are a rollicking sonic force. The exuberance of their playing is matched by the sheer talent involved. Of particular note is the trumpet playing of Matt Smith and Erin Royer on alto saxophone and clarinet. But they’re all damn good – Herbert on baritone saxophone, Luke Minness on tenor sax, Ricki Malet on 2nd trumpet, Tom Salleo on the trombone, the bass playing of Kate Pass, Tim Voutas adding ‘subtlety’ on piano, with Alex Reid on drums. 

The two set lists are littered with classics that are instantly recognisable. Some of the highlights – the classic St James Infirmary sung by Gordon that had me down in the New Orleans bayous; the slow build of Shake That Thing into a crescendo of vocals and musicianship – when the collective talent on stage is in mass attack mode as they were here then the table and chairs be a vibratin’!

Morrison delighting in rolling more R’s than a hundred Edith Piaf impersonators whilst singing C’est Si Bon. Turner crooning his way through I Get A Kick Out of You and The Way You Look Tonight; the chaos Morrison brought at various points, one of which was a duet with Turner on a retro-fitted Lady Is A Tramp. The trusty crowd-pleaser Mein Herr with Gordon at her cheeky best as she expertly builds to a thumping conclusion with that glorious voice. The instrumental jams such as Climax Rag.

All culminating in Diamonds Are A Girl’s Best Friend, the Moulin Rouge arrangement no less, that would have made Nicole Kidman blush as a now pneumatic Morrison breathed new life into Satine; with an encore of Gordon and Turner, best friends fittingly together, doing Kander and Ebb’s wistful Nowadays.

There are only two more shows of this incarnation, all no doubt sold out. But never fear, the Perth Cabaret Collective will be showcasing an hour-long version at next year’s Fringe in the magical Edith Spiegeltent. On the evidence of this performance it will be one of the hottest tickets in town.

*Images courtesy of Claire Alexander