Rodeo Moon - WAAPA (16 November 2015)

The year is 1969. I know this because several characters seemed keen to tell me so. The other key year of note is 1967 when a Referendum question was overwhelmingly passed to remove references in the Australian Constitution that were discriminatory to Aboriginal people. Two years on though and change is slow to come to the outback. Racism is rife and there is a clearly established pecking order. You challenge it at your peril.

Things come to a head in the Pilbara where a combustible mix of forces converges – a rodeo swaggers into town full of machismo and sense of superiority; a ‘coloured’ girl (white father, aboriginal mother) who is a political student dares to stand up for the indigenous townsfolk who are understandably leery; three hippie activists escaping the Vietnam draft arrive; and, as improbable as it sounds, a certain pair of politicians about to fight a Federal Election rock up to check out conditions on the ground.

There is no doubt playwright David Milroy has a specific viewpoint to expound. That he does so in a “Jack and Jillaroo musical” which is full of songs and comedy is an interesting and entertaining choice. This is both a feel good show with everything from a drag act to hilarious bush poetry; to a serious drama that explores the harshness of life in such a rigidly stratified society, the edicts of faraway politicians be damned. It straddles that divide reasonably well though the tonal shifts can be abrupt.

For me the play works best when it focusses on the personal cost of the choices its characters make within the context of what is set up. That larger framework felt forced in the early going with characters delivering awkward exposition to describe the political and social climate of the time. Notably, John Gorton (Ben Jeakings) provides a searing indictment of the ‘politics of denial’ while being played largely as a buffoon. His partner in this unlikely comedy duo is Gough Whitlam (George Carter Zillessen) who will lose the election but manufacture a 7.1% swing to Labor that sets up his ascension as Prime Minister three years hence.

Within this construct there are two simple but quintessentially human stories. Political student Molly (Simone Detourbet) wants to meet a mother Pansy (Shanice Tabua) she has never known; and local indigenous girl Tilly (Teresa Moore) is sweet on star rodeo performer Knuckles (Conor Mavromatis) and wants to dance with him at the ball.

The personal obstacles both face resonate far stronger than any political ‘debate’ on hand. Molly’s father Wetherill (Nelson Baker) resists his daughter’s desire to see Pansy, out of shame and under pressure from rodeo boss Buckley (Jack Sheppard) who has very clear ideas about the place of ‘blacks’ (and women). Tilly’s quest is fraught with danger as it’s a line that if crossed comes with great risk. Both storylines arrive at happy conclusions but not without dramas along the way.

To the performances and Moore is a standout as Tilly. She has the best singing voice and uses it expressively while providing the character with real resolve and dignity. Detourbet has a fine scene with Baker as father and daughter clash in a dramatic highpoint while bringing feistiness to her character throughout. The interaction between Molly and Tilly, initially strained before they bond as allies in their separate causes, is the heartbeat of the piece and well conveyed by both actresses.

Props to Sheppard who gives what could otherwise have been a thoroughly loathsome character enough flair and energy to make his carnival barker Buckley engaging. James Schultz plays Molly’s brother Billy with impressive intensity as he carries a major dramatic thread to do with their mother. On the other side of that coin, Shane Pickett, Mathaias Kepa and Dakota Morrison, bring the laughs with their hippie draft dodgers. Kepa has a strong stage presence and good voice while Pickett threatens to steal the show as the most unlikely of rodeo queen contestants. Mention also to Brian Anau whose bush poem had me squirming and laughing in equal measure.

Musical Director Wayne Freer was also the solo musician on keyboard and guitar and the songs were a likeable mix of ballads, sixties style pop, and indigenous numbers. The majority of the cast were not particularly good singers but the character of their performances carried the day. The stage was red dirt on wooden floorboards with a tree stump, wooden fence posts, and a raised platform at one end. The lighting design accentuated that dirt to give a real sense of place.

This was a funny and entertaining production with a serious undertone that, if nothing else, had me looking up both the Referendum results and the 1969 election. But it was the human cost that people faced during those turbulent times (and in many ways still do) that struck a nerve. 

Rodeo Moon is written by David Milroy and co-directed by Rick Brayford and Eva Grace Mullaley with Musical Direction by Wayne Freer, and stars the Aboriginal Theatre students Jack Sheppard, Nelson Baker, Conor Mavromatis, James Schultz, George Carter Zillessen, Ben Jeakings, Shane Pickett, Mathaias Kepa, Brian Anu, Simone Detourbet, Teresa Moore, Dakota Morrison, Shanice Tabua, Katrisha Jackonia, Stephanie Binder, Aiesha Blurton, Nicole Brockman, and Meiching Riley. There is one final show at the Enright Studio on Thursday 19 November.

Sweeney Todd: The Demon Barber of Fleet Street - Fresh Bred Productions (31 October 2015)

What a way to spend Halloween night – attending a production dripped in revenge and obsession where a “demon barber” slits the throat of unsuspecting customers who end up being the filler for meat pies! Of course, this gruesome tale is blessed by the sublime music and lyrical dexterity of Stephen Sondheim with a dark-hued book by Hugh Wheeler.  

My first impressions as I wandered into the venue were, “what a spectacular theatre!” quickly followed by “what a cast!” as I looked through the programme. Indeed, St. Hilda’s Joy Shepherd Performing Arts Centre is a wonderfully appointed 940 seat theatre with all the mod cons – large performance space, orchestra pit, immaculate seating, all the high-tech gadgets, and beautiful lobby and facilities. It was impressive in every way.

As is the cast director Craig Griffen has assembled. I was immediately encouraged on seeing Ian Cross’s name - the standout in a recent production of Oklahoma! - in the lead role. His Jud from that musical was also a dark, tormented character whom he played with great intensity and menace. He excels here with another tightly coiled turn as the eponymous character showcasing a powerful voice and bringing a fierce energy and gruffness to the role. This is occasionally leavened by a softer approach in regard to Todd’s daughter, Johanna (Madeline Crofts), and a vein of jet black humour with his landlady and partner in crime, Mrs. Lovett (Elethea Sartorelli).

Sartorelli, who won a Finley Award last year for a supporting role in the musical Xanadu, is the perfect foil to Cross. Her Mrs. Lovett is cheekily amoral yet caring when it comes to young Tobias (Pete Martis). She sings beautifully, Cockney accent and all, and brings so much black humour to proceedings. Cross and Sartorelli work well together, the first act closer, A Little Priest, a highlight as they gleefully cavort while singing the gloriously mischievous song replete with trademark Sondheim wit and wordplay.

Michael MacCuish, who was good in a non-singing role in Spring Awakening, reveals a tremendous voice as Anthony, the sweetness of which works well in counterpoint to Cross. I enjoyed the sincerity he gives the love-struck sailor, another contrast to all the duplicity swirling around the character. Crofts displays yet another standout voice with Green Finch and Linnet Bird an early highlight as she stands perched upon a step ladder like a beautiful, fragile bird herself. Again, another pairing that works well with Kiss Me a memorable moment that is reprised in snippets throughout.

Martis plays Tobias with suitable naivety until the character stumbles upon the truth leading to an escalation of events. His Not While I’m Around with Sartorelli is quite effecting as the bleak subtext of the moment cuts right through the sweetness of the ballad. This is where Sondheim’s genius lies – another gorgeous song, Johanna, is sung so earnestly while Sweeney is dispatching men with his razor. The jarring contrast of lyrics and music with the brutal actions onstage makes such sequences layered and compelling.

It’s fair to say every character is well cast with singing ability at the forefront. Kimberley Harris makes for an ultimately tragic Beggar Woman who gives some cackling cheek as she intersects with various characters along the journey. Another strong voice, her warning cries in song become increasingly desperate as events spiral out of control. 

Cal Silberstein is carving out quite a niche with memorable, comic inspired characters. Here it is with Adolfo Pirelli whom Todd bests in a shaving competition and ultimately condemns to the meat grinder of the bakehouse. There’s a mischievous attitude about Silberstein’s performances that make them stand out no matter how brief.

Rounding out the principal cast is Simon Brett who gives Judge Turpin a creepy, obsessive air of his own and has a showpiece moment of self-flagellation in Johanna: Mea Culpa; Daniel Kirkby as Beadle Bamford who joins in the fun with Parlor Songs on the “partly singed harmonium”; while Thomas Owen is briefly featured as a doctor in the asylum where Judge Turpin hides his beloved Johanna whom he intends to marry despite her being considerably younger and his ward. There really are some disturbing aspects to this story beyond the murders!

The Ensemble is also in very fine voice as they reprise The Ballad of Sweeney Todd throughout and act as silent witnesses to events or incidental characters such as the asylum inmates. They are: Stee Andrews, Rebecca Cole, Jordan Dunne, Olivia Everett, Jackson Griggs, Crystal Haig, Niamh Nichols, Emily Semple, Shannon Whyte, Sam Widenbar, and Lauren Kingham.

Then there is the nine piece orchestra under conductor Joshua James Webb who play the challenging and exceptional score extremely well. From the opening Organ Prelude they are in fine form and the sound balance is spot on between performers and musicians. Indeed the sound design is excellent for such a large venue. I overheard Webb’s mentor talking to the director after the show and he was effusive in his praise of the musical quality. There is no doubt this is a superbly sung and played production. Well done Simone Bishop, Ben Hogan, Tadgh Pedder, Krista Low, Andrea Sitas, Blake Howieson, Laura Halligan, Tahlia Denn, and Ben Albert.

To the staging and the set is quite sparse with a lot of use of smoke and haze effects. This gives great atmosphere with the lighting often used to cast the performers in partial shadow to add to the eerie tone. I did have some quibbles – the use of scene locations – for example ‘Mrs. Lovett’s Pie Shop’ or ‘Sweeney Todd’s Tonsorial Parlor’ on large white sheets that descended into place tended to undercut the unsettling tone as they felt too obvious. This was also the case with the ‘19th Century London’ that unfurled at the start of the show to some mirth. These struck me as redundant as the spaces were clearly delineated by the props and the performances themselves.

It also felt a curious choice when the impressive lighting array was lowered to just above head height at the start of the show for one of the ensemble to literally ‘plug things in’ after which it would rise and descend for various scenes. This was a little distracting as if too eager to show off the technology but after a while settled down to a more traditional configuration.

In all, this is a fine production of a tremendous piece of musical theatre. I understand months of preparation and rehearsal have gone into making this show a reality and it shows. Congratulations to all involved on taking a risk with such a huge undertaking for independent theatre and pulling it off.

Sweeney Todd: The Demon Barber of Fleet Street is directed by Craig Griffen with Musical Direction by Joshua James Webb from a Book by Hugh Wheeler; Music and Lyrics by Stephen Sondheim and is on at the Joy Shepherd Performing Arts Centre in Mosman Park next Friday and Saturday the 6-7th November. 

Spring Awakening - Fresh Bred Productions (10 April 2015)

Hot on the heels of the performance of Frank Wedekind’s 19^th century play at Curtin University last month comes the Tony Award winning musical adaptation, presented by Fresh Bred Productions. Fresh Bred hit the scene in February last year with the Patrick Marber play Closer which was followed by their first musical, The Last Five Years, in August. They appear to have found a home at UWA’s Dolphin Theatre and a niche in mounting ambitious musical theatre productions with Sweeney Todd up next. Even Closer betrayed their intentions with an original score composed by regular musical collaborator Kohan Van Sambeeck.

Having seen the source material only a month ago certainly helped my understanding of the story but what struck me most was this: how audacious it was to take a play written in 1891 and turn it into a rock musical. It is testament to the thematic potency of the original even though some of the darkest aspects have been toned down for the different format. There’s still plenty of honest and uncomfortable examination of teenage sexual awakening in its various forms married to a superb set of songs.

Here lies the strength of this production. The orchestra, led by Musical Director Joshua James Webb, was terrific throughout. The music by Duncan Sheik is an impressive yet eclectic mix of strings and more rock oriented elements – electric guitars and drums - with Webb on keyboards. This collection of musicians certainly knew how to rock when required – The Bitch of Living and Totally Fucked for example – but was perhaps even sharper when providing the mood and atmosphere to numbers like Whispering and Touch Me. Situated at the back of stage behind the gauze stripped ‘trees’ representing the German woods, they were tight and focussed with the only blemish a false start at the beginning of the second act but that appeared to be related to a backstage issue. Well played Van Sambeeck (percussion), Hanna Lee-Smith (Violin/Guitar), Cristina Filgueira (Viola), Beren Scott (Cello/Violin), Tim Perren (Electric Bass), Ben Griffith (Guitar) and Webb (Piano/Conductor).

Matching the musicians was the vocal talent on display. This really was a strong cast from a singing perspective – the featured vocalists excelled and were given tremendous support from the ensemble. I had not come across Madeline Crofts (Wendla) before but she set the tone from the beginning with Mama Who Bore Me and sang beautifully throughout with Whispering a highlight. Finn Alexander (Melchior) unfortunately had a dead microphone for the opening sequences which cruelled All That’s Known but once that technical problem was rectified he too showcased a fine voice, notably in songs like Touch Me. Both impressed with their acting skills especially in two pivotal scenes – the beating of Wendla with the switch and the now more ambiguous sexual congress that ends the first act. 

Cal Silberstein played Moritz with an exuberance that marked the character’s incarnation here as most recognisably a musical theatre construct as distinct from the more sombre version in the original play. He did it well in the first act driving a lot of the comedic energy but this gave way to darker hues at the end of the first (And Then There Were None) and into the second that provided a nice arc. Kimberley Harris, another fine singer, was an almost ever present observer as Ilse with a featured scene with Silberstein in Don’t Do Sadness/Blue Wind. The musical started with the teenagers seemingly listening to Ilse intently and that configuration was reprised at the end as if she was relating the tale just witnessed. Indeed the whole company was almost always in sight with the ensemble in the wings and actively watching when not in a scene. The Ilse character also appeared to take on aspects of the Masked Man who has been otherwise excised from the adaptation.

Naomi Denny (Martha) had a notable moment with The Dark I Know Well and the effective welt makeup on her shoulder elicited an appropriate audience response when revealed before that song. Sven Ironside made for a charismatic, mischievous Hanschen and his work with Andrew Longo (Ernst), particularly during The Word of Your Body (Reprise) was playful but hauntingly beautiful as well. I really enjoyed the acting work of Michael MacCuish who added real authority and presence in the ‘Adult Men’ roles, and Nat Burbage played a mix of stern adult female authority figures and the more emotional mother roles.

The set harked back to the setting of the source material with the woods and classroom represented in minimalist style before we switch to the Reformatory and graveyard in the second act. There was an interesting use of glow sticks during the raucous Totally Fucked which gave a real sense of energy but jarred a little stylistically. The cast was buoyant during The Song of Purple Summer and final bows. Having been in rehearsals since November the hard work and preparation was evident in particularly the musical and vocal quality on display.  

Adapted from the Frank Wedekind play with Book and Lyrics by Steven Sater and Music by Duncan Sheik, Spring Awakening is directed by Craig Griffen with Musical Direction by Joshua James Webb. It stars Finn Alexander, Cal Silberstein, Madeline Crofts, Nat Burbage, Michael MacCuish, Pete Martis, Daniel Kirkby, Sven Ironside, Andrew Longo, Shanice Palfrey, Olivia Everett, Naomi Denny and Kimberley Harris. There are two more shows at UWA’s Dolphin Theatre, 17-18 April.

The Threepenny Opera - Queens Hall Music (25 January 2015)

Ah, jolly old Victorian London. It’s a wholesome place full of cutthroats, thieves, prostitutes and all manner of unsavoury characters including such luminaries as Jack the Ripper and, in this instance, MacHeath (Caleb Robinson-Cook), better known as Mack the Knife.  

Mack and his gang (Jaxon George, Emerson Brophy, Sven Ironside and Ben Adcock) are always looking for an easy mark and what better opportunity for some thieving than a royal coronation? A similar thought occurs to underworld crook Mr Peachum (Brett Peart) who, with the assistance of his stern wife (Hannah Kay), schools a bunch of misfits (including Clare Thomson, Elise Giaimo and Claire Thomas) to be beggars on the street. Problem is their daughter Polly (Tania Morrow) has secretly married Mack. The reality of this union doesn’t sit well with the Peachum’s who take all kinds of measures to see Mack captured and hanged. Police Commissioner Tiger Brown (Rod Worth) is an unwilling accomplice in this as his daughter Lucy (Emma-Marie Davis) is, ahem, also married to Mack.

It’s a fairly straight-forward tale with a ‘ticking clock’ of sorts in the second half as the hanging must occur at a specific time lest it distract from the impending coronation. Mack is ultimately undone by the betrayal of his ‘Thursday regular’, the beautiful Jenny Diver (Meg McKibbin). Our hero is quite the ladies’ man. Ultimately he is saved from the hangman’s noose by a little ‘Deus Ex Regina’ – a messenger (Claire Thomas) from Queen Victoria herself reads the pardon that saves the day. Happy endings are enforced by no less than royal decree!

Staged upstairs at the Perth Town Hall (in what I’m assuming is usually a ballroom) the acoustics were a little tricky with the high ceilings imparting a lot of echo. Given that, I thought the singing throughout was generally good but with the band being located immediately to stage left and incorporating a trumpet and trombone there were times the performers were overwhelmed by the volume of the music. The band itself under Musical Director David Hicks played well but that balance was problematic more often than not.

In terms of performance I really liked Peart and Kay as the Peachum’s both vocally and as the main adversaries to Mack. Robinson-Cook gives a forceful and charismatic turn as MacHeath, at times admonishing and cajoling his men; at others wheeling and dealing his way out of all the trouble his romantic and constabulary predicaments bring. I found Morrow’s dialogue a little hard to follow and while the main performers were mic’d up projection was still a problem with the echo. She also had a tendency in the first half to play to the audience while in scenes (as distinct from the stylistic choice where a solitary character would address the audience from time to time) which I found distracting.

Worth gives an excellent over-the-top performance as Tiger Brown and you could almost feel the hand wringing of despair as events don’t go his way. A most unusual police commissioner! Davis has a lovely cameo as Lucy and her one big number Barbara Song was well delivered as she effectively battled the band for aural supremacy. McKibben nicely underplays the moments leading up to her betrayal of Mack while Ironside is the second comic foil with a mischievous turn as both a gang member and police officer. A quiet standout for me was Jaxon George as Matt. He had a cockiness and surety that worked really well when needling Mack. Thomas has fun playing a boy who’s a newcomer to the begging game and the remaining cast all provide good support.

I wasn’t a fan of the set itself which was a series of some four folding panels that were moved to loosely interconnect to depict various locations. They had a real slipshod air about them and made the transitions quite clunky. Given that their only functional purpose was to provide doorways I think they possibly could have been done away with as the lack of quality was another distraction.

Finally, the staging itself was a little static for mine with more of a stand and deliver approach to the numbers. The show hit its straps in moments like Army Song where the energy and movement went up another gear and there was similar potential in Tango Ballad as Mack and Jenny dance. I did, however, like the black humour that was bubbling throughout this.

Directed by David Hardie with Music by Kurt Weill and Book and Lyrics by Bertolt Brecht, The Threepenny Opera had three performances as part of Fringe World.

Extra Ordinary People - Second Chance Theatre (22 November 2014)

The presence of superhero themed entertainment, especially movies, has been all pervading in recent years as Hollywood unveils, reboots, and rehashes multi-billion dollar franchises with increasing fervour. These stories are far more sophisticated than I recall in my childhood - I am from the generation of comic books which have now been superseded by the far more ‘respectable’ (and thematically dense and generally darker) graphic novel. It’s interesting then to see what impact this has had on a generation immersed in tales of (mostly) good versus (mainly) evil where a dizzying array of filmmaking talent and special effect wizardry makes the most outrageous of superhero powers possible.

Fascinatingly, one answer to that question is an original superhero comedy musical, written and directed by graduating Murdoch University student, Scott McArdle. Even more so when it becomes very clear that this is, in fact, an anti-superhero comedy musical. To say that McArdle’s last student production is ambitious would be an understatement of heroic proportions – a two hour and fifteen minute running time, a twenty-one strong cast, an equally large production team, a nine piece band, all original songs and a thematically cohesive Book that dissects superhero mythology with laser-like precision.

The story in short, a barista called Polly decides to take a stand against the protector of Destiny City, the invincible Captain Astonishing, whose battles with The Destroyer claim innocent lives and disempower the local citizenry. Polly enlists the support of a couple of comic book geeks, a scientist, and an ex-cop, and holds a public protest to disastrous results while dodging the attention of secret agents and falling masonry from rooftop battles atop skyscrapers. Captain Astonishing has problems of his own, mainly of the slowly going out of his mind variety and indeed ends up living long enough to become the villain.

McArdle is steeped in superhero lore and there are plenty of in-jokes and references throughout as well as all the tropes and twists one would expect in such a tale – secret underground laboratories, shadowy government organisations, an indestructible superhero with an equally powerful nemesis, secret identities, and a climactic final confrontation. But unlike Man of Steel (nicely bitch slapped) the city still stands at the end as ordinary citizens regain a sense of purpose with the removal of a god-like figure to protect them. The most telling line is tagged with the “with great power comes great responsibility…” – “… and with no power comes choice.” While crime rates are at an all-time low and coffee remains readily accessible, the people of Destiny City are an unhappy lot, powerless in the face of the titanic struggle supposedly being waged on their behalf. Purpose, choice and destiny are within their grasp if only they would seize the opportunity and stand up to Astonishing. Polly is the catalyst for this revolution as the superhero becomes the enemy and ordinary people battle the extraordinary… with a little help from the wonders of science.

Shannon Rogers is excellent as Polly and gives a nicely grounded performance as the mayhem swirls around her. Rogers has a pleasant singing voice but it’s the acting chops here that are crucial as she essentially plays the moral anchor to the story even when things don’t go according to plan and Polly’s own secrets are revealed. She also has a deft touch with the physical comedy elements and occasional droll one liner. A demanding lead role that sees her battered from pillar to skyscraper rooftop with the bruises to prove it.

James Hynson gives an engaging performance as the ‘Einstein’ of Polly’s mock-resistance group and his character plays a pivotal role in coming up with the Plan B that saves the city. Rogers and Hynson work well together and, again, he gets moments of comedy but also imbues the scientist a strong moral conscience that gives Polly an additional nudge when required.

Second Chance Theatre regular, Emily David plays the fired cop, Stacy, with snarling intensity and has a little Ethel Merman going on with her singing which was a nice counterpoint to the other vocal talent. Then there are two pairs of comic foils – the superhero loving nerds Kirby and Frankie (Justin Crossley and Sophie Braham) who are all geek enthusiasm though clearly (and amusingly) delineated between different fandoms. Crossley has a nice dramatic moment when Kirby takes Polly and Stanley to task over discussing – spoiler alert – Frankie’s death as an abstraction whereas he actually knew her as a real person. The other pairing is secret agents Philson and Rodgers (Andrew Dawson and Launce Ronzan) who come from the Keystone Cops school of homeland security and are very good with a series of hijinks and pratfalls as they eventually bumble their way to the city’s defence. In smaller roles, Joel Sammels made the role of Polly’s Boss memorable, as did Rachel Doulton with the insistent Landlord.

This leaves one key character - Captain Astonishing himself. He makes an appearance at the end of the First Act though, of course, he’s been right under our noses the whole time. Played with relish by Sven Ironside with a jawline to die for and a costume maybe not to, he adds a real sense of unpredictability and energy. This is totally in keeping with the character’s mental disintegration and in service of the plot but it was more than that. Ironside’s first big number where he proclaims he will do things “my way” had the sort of energy and attack that the earlier songs lacked. That’s not to say they weren’t good but I had a sense that the musical performances were almost too careful and a little safe. Here, Ironside throws himself at the number and it elevates the material. The same could be said of the fine set piece extolling the virtues of science that had some Chicago-style pizazz and was playfully handled by the ensemble.

The piano driven score was good and the band played very well. There was an overall lack of songs for my musical taste with long stretches between numbers at times but those we had were well crafted. The set and lighting design was impressive and set transitions handled swiftly and economically. The show hit its straps in the Second Act and the climax was well handled.

This really was an impressive production on so many levels – the sheer audacity and scope alone is to be applauded but the writing here is well balanced between comedy and darker, more dramatic moments and is thematically compelling as a reaction to the adoration the world of superheroes and their exploits usually receive. My only question mark is that the nominal nemesis, The Destroyer, is only ever referred to in dialogue other than represented as a drawing on the café scrim. I never had a real sense that he was a worthy adversary to Astonishing. The songs are good though I think, for a two hour plus running time, there needed to be more of them and with a greater sense of verve in presentation. The ensemble work well and there are amusing walk-on parts and activity happening all the time as we see glimpses into the lives of Destiny City’s citizens.

Written and Directed by Scott McArdle, Music by Nick Choo, Lyrics by McArdle and Choo, with Musical Direction by Glenn Tippett, Extra Ordinary People is a fine way for Second Chance Theatre to end their stint as a student-based theatre company and to cap off a big 2014. I am eager to see what McArdle and his creative collaborators come up with in the New Year.

Cinderella - Koorliny Arts Centre (4 November 2014)

If the object of the story is to find Cinderella then the glass slipper fits snugly with the casting of Madeleine Shaw in the title role. The headline news out of Tuesday night’s final dress rehearsal down at the Koorliny Arts Centre is that the petite performer has a wonderful singing voice and a confidence that comes with it. Of course, no production is bigger than any single person but with Shaw director Ryan Taaffe has a bona fide star anchoring the show. That alone should guarantee a successful season for the Rodgers and Hammerstein musical of the famous fairy tale but this is such a charming, family friendly effort that it will please children and parents alike.

Cast opposite Shaw in the role of Prince Christopher is Daniel Nixon who comes into his own in the second act (as did the show as a whole) especially with Ten Minutes Ago and Do I Love You Because You’re Beautiful? The ball is the strongest sequence and Shaw and Nixon work well together as the fledgling romance flourishes before being cruelly cut short.

Speaking of cruel, Tammy Miller gives a strong performance as the Stepmother doing a lot of the heavy lifting in the first act as the familiar tale kicks into gear. She is joined in this by Stacey Hollings and Grace Dennis-Sayer as the sisters who vie for the Prince’s attention and provide a lot of the comic relief. Dennis-Sayer in particular gives Joy a robust physicality with a most impressive snort. They have some nice pratfalls as they battle each other while being in thrall to their conniving mother.

Shelley Whiteaker is the Fairy Godmother who kicks off the tale and provides that little piece of magic that turns Cinderella from browbeaten servant girl to beautiful princess. The transformation is indeed magical with an ingenious piece of costuming design that was most impressive. Vocally Whiteaker is strongest in her final number at the end of the show. Indeed, most of the singers seemed a little tentative but that should shake itself out as they get into a rhythm over the run.

Of the other secondary characters, Mark Thompson provides additional comic relief as the Prince’s confidant Lionel while David Major and Pamela Ogborne play the King and Queen. Ashleigh Riley is an almost ethereal presence as the “Dove” that guides Cinderella at key moments and the children playing the four mice and a cat are delightful. There is also an ensemble of some 16 additional performers across all ages for the market and balls scenes.

The set is quite simple with minimal transitions as most of the action is either at the Stepmother’s house, the markets, or the palace/ballroom. The 13-piece band is located stage left fully visible to the audience and played well under the direction of Krispin Maesalu.

The first act moved a little slow but again, that should tighten with more performances and the energy levels will go up a notch with a bigger audience than simply me. The production certainly found a better rhythm in a second half that doesn’t outstay its welcome and has a crowd-pleasing happy ending and perhaps the stronger musical numbers. If anything, the show plays to its strength any time Madeleine Shaw has a featured number and there is a nice balance with the fairy tale romance, broad comedy, and an old-fashioned charm that is hard to resist.

Directed by Ryan Taaffe with Musical Direction by Krispin Maesalu and Choreography by Allen Blachford, Rodgers and Hammerstein’s Cinderella opens at the Koorliny Arts Centre Thursday 6 November and runs until 15 November.

West Side Story - WAAPA (19 June 2014)

There are times when you can sense something special is about to happen; a certain electricity in the air, a tingling sensation, a premonition almost. This elusive feeling is even more powerful when it’s a shared experience. Like sitting in a theatre as it slowly fills; watching performers warm up on stage; hearing the orchestra go through their own pre-show preparation; seeing the smoke drenched set and lighting arrays;  listening to the excited chatter of the audience; taking in the smiles of enthusiastic ushers as they help people to their seats.

Suddenly there is the polite announcement about photography and electronic devices. Then absolute quiet. For all of about a second. A shared hush of expectation that is as exquisite as it is fleeting… before the musical director’s baton descends and a lone performer walks on stage and we’re away.

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.

This is a huge and wildly ambitious production by WAAPA and they’ve thrown everything at it – from a cast of 40 drawn from the second and third year musical theatre students to a 26 piece orchestra, again populated by WAAPA Music students, to the skills of their Production and Design students – the quality and attention to detail in every department is evident. This is nominally a student production but it looks and sounds like a professional, big budget musical. This is a triumph for all involved. 

The set is ingenious with four ‘towers’ (comprising scaffolding, platforms and stairs) that move, often during scenes, but fit together in different combinations to form various locations and are the centrepiece for many memorable moments such as the Balcony Scene. The intricacies of the staging seemed effortless but would have taken many, many hours to get so seamless especially with the number of performers involved.  

The lighting is wonderful and I’m told those towers were actually made of wood but lit to look like metal. It certainly had me fooled. The costuming is colourful and distinctive, clearly delineating the Jets and the Sharks as does the impressive work on the diverse accents, notably for the Latino Sharks. The orchestra was in ripping form and musical director David King definitely had a talented group at his disposal. Choreography by Lisa O’Dea was vibrant and energetic - the cast tear into set pieces like America and Gee, Officer Krupke with real verve. Director Crispin Taylor has attacked this with imagination and flair and the results show in all these elements.

Then there is the cast.   

WAAPA is rightfully proud of its status as one of the top performance academies in the world. When you see that talent arrayed on stage in such a challenging and acclaimed musical you come to understand how very true and earned that status is. They were superb. From the leads on down to the ensemble, from their vocal ability to the slick dancing, you sit back and marvel at the sheer talent on display. The greatness of West Side Story is it presents many different facets for them to explore – at its heart it’s a very dark piece but also sexy, vibrant and fun. There is a joy and exuberance here that is eminently watchable and, of course, there are many wonderful songs that are simply classics such as Maria, Somewhere, America, and Tonight.

William Groucutt nails one of those (Maria) and was a very likeable Tony. Miranda Macpherson shines as Maria and her chemistry with Groucutt is good especially in the more playful moments. Suzie Melloy gives a star making performance as the feisty Anita – she is simply superb and a real charismatic presence. Patrick Whitbread’s Riff and Lyndon Watts’ Bernardo are both suitably strong as the leaders of the respective gangs and the physicality of the male roles was impressive. Jacob Dibb plays the key role of Chino (especially in the darker second act) while Daniel Berini and Nick Eynaud add light comic relief as Detective Schrank and Officer Krupke. Shannen Alyce takes lead vocal on Somewhere to great effect which is a highlight as the amassed cast join in. 

The third years will graduate soon and on the evidence of this and Hair earlier in the year we’ll be hearing a lot more from most if not all of them. The second years gave an exciting glimpse into 2015.

This truly was a spectacular production and WAAPA’s presence on the Perth theatre landscape is an ongoing joy. West Side Story, directed by Crispin Taylor, Musical Director David King and Choreography by Lisa O'Dea, has only three more performances, 20-21 June. If you can get a ticket this is a not-to-be-missed show. 

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. 

Werewolf Priest! The Lamentable Ballad of Father Hank Grimby - The Blue Room Theatre (21 May 2014)

Tired of city living? Considering a move to the countryside? Here’s a real estate tip: don’t EVER relocate to a place described as a “sleepy” hamlet, village or town, clearly code for “place where people die horrible, inexplicable deaths”! This is certainly the case for the “sleepy hamlet” of Huntersville where the yokels are dropping like Sandra Bullock in a Chinese space capsule.   

Fortunately, local priest Hank Grimby is merely mauled… oh, hang on a second! He survives only to become, unbeknownst to himself and the town, a werewolf…

I must confess the werewolf myth fascinates me and is a story arc I use in my own writing to explore the theme of transformation in various ways. In a werewolf tale someone gets ‘bitten’, undergoes a transformation they cannot control, and invariably hurt the ones they love most with tragic consequences. Here, writer-director-producer Levon Polinelli has chosen that someone to be a man of God thereby adding a layer of irony – a symbol of goodness is doomed to commit evil acts most foul every full moon.

But our priest, Hank Grimby (Sven Ironside), is not without sin. He is secretly in love with the Mayor’s daughter (Siobhan Dow-Hall) who is unexpectedly betrothed to renowned explorer (at least in his own mind) George Waggner (Magnus Danger Magnus) who is shortly to arrive in Huntersville. As the death toll mounts, Waggner goes all Quint on the townspeople and promises to kill the beast much to Grimby’s discomfort once he discovers he is in fact said beast. As Grimby frantically searches for a cure to Lycanthropy – announced by the town Doctor (Stephen Lee) to be a potion made from a rare flower – Waggner appeals to the Mayor (AJ Lowe) to unleash his sense of vengeance. Unwitting patsy, Tomas (Daniel Buckle), aids Waggner in his quest for glory.

What to make of this strange beast? Part musical, part melodrama, part comedy, part horror, it is a quirky hybrid that somehow manages to work despite its disparate parts.

Melodrama infuses the forbidden love story between priest and the mayor’s daughter. Already an illicit liaison, the announcement that the Mayor has chosen a husband for his daughter – and asked Grimby to perform the marriage ceremony no less – adds to Grimby’s lament. There are strong moments between the two lovers with Dow-Hall an earnest and tender presence with a lovely singing voice.

The comedy comes courtesy of a larger-than-life Waggner played in scene chewing fashion by Magnus, colourful costume, knife fetish, and all. Lee’s Teutonic doctor also adds plenty of humour with his ‘autopsy’ of a victim a delight.

The original songs and music are strong but this felt more like a play with songs rather than a fully formed musical. There seemed to be the opportunity to have different types of songs assigned to more characters. Waggner’s tall tales about his travels to far flung places such as Patagonia felt ripe for such a treatment as did either the Doctor’s autopsy scene or when he is making his potions. Indeed, Lee ad libs an excerpt from The Skeleton Song at the beginning of the latter scene. Grimby’s songs are mainly of the unrequited love or unsurpassed guilt variety with a ghostly duet early in the second act a highlight. Waggner’s musical pitch to the townsfolk to kill the beast was also memorable.

The horror comes via the deaths of various townsfolk (including Rhianna Hall and Tiffany Swan) and the arrival on stage of the fearsome werewolf. A lot of time and effort is spent setting an ominous mood with the use of lighting, smoke, music cues, and sound effects. It all ends in a climatic final battle that is equal parts high energy and high camp.

This is another quirk of Werewolf Priest – the tone tends to swing wildly. Talking to members of the cast afterwards, they pointed to a particular scene where the audience laugh in the first act and, in their words, suddenly realise that this is funny. This initial uncertainty may be due to the different genres being deployed and the range of acting from over-the-top theatricality to earnest melodrama. Ironside works hard in the title role but others have far showier parts with him the anchor for their antics.

It’s an enjoyable production with plenty of twists and surprises but somehow it feels like it should be bigger, more over the top, with more songs and more, well, werewolf, damn it! It will be interesting to see if it develops into this over time as it has a clear filmic influence in both staging and content with the small Blue Room stage barely able to contain Polinelli’s wild ambition.

Written and directed by Levon Polinelli with Ash Gibson Greig as composer, Werewolf Priest! The Lamentable Ballad of Hank Grimby is on at the Blue Room until 7 June, featuring Sven Ironside, Siobhan Dow-Hall, Magnus Danger Magnus, Stephen Lee, Adrian Lowe, Daniel Buckle, Rhianna Hall, Tiffany Swan and Ayden Doherty.

Annie - Koorliny Arts Centre (17 May 2014)

Musical theatre is such an educational medium. For example, I was unaware that it was a redheaded orphan who was the inspiration for Franklin Delano Roosevelt’s response to the Great Depression – the New Deal - in the 1930’s! Of course, Annie is one of those quintessential stories, like Forrest Gump, that celebrates that most idealistic of cultural phenomena, the American Dream.

Here, an eleven year old girl searching for her parents is saved from a bleak existence in an orphanage by a billionaire and gets to meet the President of the United States before eventually being adopted by said billionaire after learning her parents are dead. At Christmas time no less to add another layer to the fairy tale. I’m not sure such a story could be set anywhere else but America.

Putting aside the cultural peculiarities, Annie is full of great songs and optimism, best symbolised by the song ‘Tomorrow’, a rendition of which prompts Roosevelt’s unlikely epiphany.  

None of this works without a young performer who can pull off the eponymous role. In Christie McGarrity director Katherine Freind has certainly found her Annie. She gives an assured performance that belies her age with a strong voice that handles Annie’s showcase numbers, including the iconic Tomorrow, with aplomb.

Annie’s nemesis is Mrs. Hannigan (Val Henry) who runs the orphanage and has a strong dislike for the feisty girl. Henry treads the fine line between what passes for a villain in this tale and comic relief nicely. The orphanage is populated by a whole raft of girls and their interactions are a true delight.

Into this world steps Grace (Kimberley Harris) representing the billionaire Oliver Warbucks (Chris Gerrish) who is looking to host an orphan for two weeks leading up to Christmas. She insists on picking Annie much to Mrs. Hannigan’s annoyance and Warbucks’ surprise as he was expecting a boy. Harris has the standout singing voice and plays the dutiful assistant well. Gerrish is great as ‘Daddy’ Warbucks and has good chemistry with McGarrity. Warbucks sets out to find Annie’s parents and enlists Elliot Ness and the FBI along with a little help from the President (Andrew Hislop) who is charmed by Annie.  

When Warbucks offers $50,000 for Annie’s parents to come forward his staff is inundated with claimants including Hannigan’s con artist brother Rooster (Joshua Munroe) and his needy girlfriend Lily (Georgia McGivern) who want to be on “easy street”. Things look bleak but their plot is foiled and everyone celebrates Christmas with a song and a smile.

This is a big production with a large cast and a very impressive set. The opening scenes in the orphanage and on the streets of New York are set in the front half of the stage with stage curtains as a backdrop. When those curtains are opened they reveal a wonderfully appointed, multi-level set representing Warbucks’ mansion. The lighting is very good as are the costumes. In fact this is perhaps the most impressive looking production I have seen at Koorliny.

The penultimate show, today’s matinee, drew quite a crowd and it was fantastic to see so many children in the audience. It would be remiss of me not to mention crowd favourite Sandy, a character of the four legged variety played by ‘Dijaan Rhodes’ but the biggest applause of the afternoon was reserved for Christie McGarrity who is set for quite the future on this outing.

Directed by Katherine Freind, Musical Direction by Justin Freind and Choreography by Sue Cunnell with a cast of 57 (and 1 dog) listed in the programme, Annie was an enjoyable afternoon’s entertainment that was well received by the audience. 

Hair - WAAPA (19 March 2014)

The power of any good performance art is to transport an audience to another time, another place; to immerse that audience in the world of the story and its characters; to shed light and understanding on that world and its inhabitants whether it is a vision of the future, a reflection of the past or even pure fantasy. Hair is neither science fiction nor fantasy but it does represent a specific period of time and place that may be as foreign in many ways to a modern day audience as the most outlandish of tales that grace our screens, small and large.

The hippie culture with its celebration of freedom and love within the context of the Vietnam War and the ever present threat of conscription and overbearing authority is unique and vibrant. Around it swirled the sexual revolution, a formative era of rock and roll where icons were forged, and the celebration of drug culture. It was also a time of war and the questioning of America’s moral authority and indeed of authority figures as a whole.

I write this as a preface because I was not there. Well, barely around when the original production first opened on Broadway in 1968. I was, however, certainly there on Wednesday night. And that is a great tribute to all involved with this excellent production. I was taken to that time and place. I did experience a window into this culture and its inhabitants. I saw the joy, the love, the confusion, the anger, the tragedy. I also witnessed a group of wonderfully talented third year musical theatre students from WAAPA strut their stuff and, oh my, how they strutted and cavorted and danced and sang and entertained.

The cast was uniformly excellent from Daniel Berini’s charismatic Berger to Du Toit Bredenkamp’s conflicted and ultimately tragic Claude; Sophie Stokes was in fine voice as Sheila Franklin with the superb ‘Easy to Be Hard’ and ‘Good Morning Starshine’,while Shannen Chin-Quan gave a lovely rendition of ‘Frank Mills’. Lyndon Watts (Hud) and Stephen Madsen (Woof) were also prominent with Eloise Cassidy a convincing “earth mother” as the pregnant Jeanie. Chloe Wilson threatened to steal the show with her hilarious Margaret Mead a highlight. But there were many of those from wonderful renditions of ‘Aquarius’, ‘Hair’, ‘Where Do I Go?’ and the joyous ‘Let the Sunshine In’ that concludes the show to the drug trip sequence and the tasteful handling of the trademark nudity as the cast strip down in the face of the horrors of war projected behind them.

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.

This really was a superb production that showcased a very strong third year class. Congratulations to director (and choreographer) Tanya Mitford and all the crew and support staff. Kudos especially to the cast comprising: Max Bimbi, Nick Eynaud, Ashleigh Rubenach, Stephen Madsen, Sophie Stokes, Daniel Berini, Chloe Wilson, Suzie Melloy, Du Toit Bredenkamp, Lyndon Watts, Patrick Whitbread, Rebecca Hetherington, William Groucutt, Ben Adams, Jack Van Staveren, Shannen Chin-Quan, Eloise Cassidy, Sophie Cheeseman, Miranda MacPherson and Jessica Voivenel.

In closing, I bumped into a friend who saw the Australian production in 1969 that featured Marcia Hines. He remarked that some 45 years later all the songs came flooding back and that WAAPA had done a wonderful job in recreating the feeling of that time.

Yes, for a couple of hours we were indeed transported to a different time and place…

Point & Shoot: A New Musical - Holland St Productions (16 February 2014)

I finally saw my first show at Fringeworld for 2014 and what a show to see - the original musical 'Point & Shoot' by Perth's own Robert Woods and Tyler Jacob Jones, starring those two plus Erin Hutchinson and Tamara Woolrych.

This is a 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.

In, I think it was, 2042 the Hollywood blockbuster is but a memory having collapsed as a viable business in 2015. Now the Independents rule the roost - smart movies for smart people. But a screenwriter dreams of writing his own blockbuster like the good old days and is given the opportunity by a newly arrived actress who has the rights to a black and white television series from the 60s that may be the only property never optioned. What follows is a deliciously wicked romp with great songs and plenty of surprises.

At 75 minutes this moves so briskly and the audience I was with lapped it up. The talent on display is impressive - all four actors play everything from piano to saxophone to flute to cello while changing into several characters as the screenwriter and his muse battle the independents, greed, ambition and surprise antagonists at every turn. A screen is also used to show, firstly, the "original" television series; the teaser trailer of the blockbuster adaptation; and the climactic ending of the film itself.

Very happy that an extra show was put on (I can see why) and that I had a chance to see this. The couple I was sitting next to had been before and were laughing as hard as I was throughout.

Excellent production and perfect for Fringe. Extra points for the best rhyme ever with the word "verbatim"!

Young Frankenstein the Musical - Koorliny Arts Centre (25 January 2014)

Lured by the sound of a lone French horn I embarked on a hay ride to Castle Frankenstein located in deepest, darkest Kwinana for a little transference, a lot of mania and some deep love. Yes, Young Frankenstein the Musical was on the loose at the Koorliny Arts Centre and what a rampage it is.

I was greeted by the flickering of lightning, the crack of thunder and a suitably ominous stage. It’s 1933 Transylvania and the villagers are celebrating the death of the infamous Doctor Frankenstein (The Happiest Town). But their happiness is disturbed when it’s announced that a Frankenstein yet lives in New York City of all places. Here we find the good doctor’s grandson Frederick Frankenstein or as he insists, “Fronkensteen”. A scientist, he is fascinated by the brain (The Brain) but ashamed of the family name.

On hearing the news of his grandfather’s death he reluctantly leaves New York and the hands-off charms of his fiancée, Elizabeth (Please Don’t Touch Me) and heads to the family castle where he meets the hunchback Igor (pronounced eye-gore), his lab assistant Inga and the wonderfully strange Frau Blucher (obligatory neigh). Entreated to continue the family business by the ghost of his grandfather (Join the Family Business) young Frederick begins his descent into mad scientist territory and a Monster is duly created with unexpected and hilarious results.

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.

But first, the performances.

Jesse Angus is superb as Frederick Frankenstein, a character that is cocky, arrogant, even smarmy when we first meet him in New York but becomes the brilliant mad scientist as he recreates and then exceeds his grandfather’s greatest triumph. Angus attacks the role with impressive energy and the appropriate level of mania as “Fronkensteen” indeed embraces the family business. He has excellent chemistry with Igor played with relish by Laurence Williams; and Brooks’ archetypal Scandinavian blonde, Inga, played by a sparkling Sarah Elizabeth Hubber. Williams’ comic sidekick, hump and all, adds plenty of sly humour while Hubber gets to be both ditzy and sexy to great effect.

Natalie Burbage’s Frau Blucher (neigh) is suitably over-exaggerated as the mysterious housekeeper; Jon Lambert an imposing Monster whose howls of frustration and despair become something far more articulate in the latter stages; and Allen Blachford’s Dr. Frankenstein looms over proceedings with a couple of pivotal scenes.

The unexpected visit to Transylvania by Georgia McGivern’s Elizabeth (Surprise) in the second act is the catalyst for all sorts of shenanigans, one of which leads to her revelatory number Deep Love. Daniel Burton’s Inspector Kemp rallies the villagers to storm the castle but it’s his blind Hermit that provides one of the highlights as he unknowingly entertains the Monster (Please Send Me Someone).

Other highlights:

The beautifully staged Roll in the Hay as Frederick and Inga make their way to the castle in the back of a hay wagon… with yodelling;

Victor Frankenstein (and ancestors) exhorting his grandson to continue his work in Join the Family Business;

Natalie Burbage’s crazy, frantic, bodice ripping He Vas My Boyfriend;

The Monster becoming animated in Life, Life;

And the show-stopping numbers Transylvania Mania that closes out the first act, and, of course, the delightful Puttin’ on the Ritz where Frederick shows off his Monster in all his tap stomping, coat and tails glory.

The ensemble gives great support as variously villagers, students, ancestors and the band were very good. The transition between scenes was handled effectively with a screen also used to indicate the setting (laboratory etc) and project images such as the late Doctor Frankenstein.

This is crazy and high camp at times but it works due to a talented cast committed to the absurdity of it all. I certainly found myself laughing along merrily and tapping my feet to several of the numbers.

Directed by Brad Tudor, Musical Directors Kate McIntosh & Taui Pinker, with Choreography by Hillary Readings, Young Frankenstein has three more shows at the Koorliny Arts Centre on Friday 31st January at 8pm and 1st February at 2pm and 8pm.

In a word, this show is Alive!

My Top Ten Theatre Productions in 2013

At the start of the year I posted my top ten theatre productions for 2012. It was the first time I had done such a thing despite my love of lists, mainly because my attendance at live theatre had grown beyond supporting an acting acquaintance here and there.

This year saw another leap forward in that regard, attending 25 productions, 3 play readings and 6 PAC Script Lab readings (okay, I had to go to one of them as it was my script being read!). This may not seem a lot, certainly compared to others who appear to see everything, but for me it was. What also surprised me was the number of musical theatre productions which has grown exponentially and feature heavily in this year’s top ten list.

So down to business – these were the ten productions I enjoyed the most throughout the year plus a new addition, my favourite male and female performance of the year.

1. Animal - Upstart Theatre Company

I truly was blown away by this. The writing was outstanding and provocative; the acting excellent, led by a superb performance from Kingsley Judd.

"This is a brilliantly written play - layered, brutal, provocative, sly, heartbreaking - with every setup paid off to telling effect. Nothing is wasted or misplaced here. It is beautifully acted by Kingsley, Sally (Bruce) and Patrick (Downes) who clearly relish working with such quality material."

2. Madame Piaf - KNUTS Theatre

Talking to Stephen Lee after the show, he reinforced what was apparent for all to see – sometimes an actor is simply perfect for a role. Rhoda Lopez gives a bravura performance as Edith Piaf.

"During the course of the year you get to see some really good shows in Perth, produced and performed by very talented people. Sometimes you get to see something truly exceptional."

3. The Guys - Classic Works

A two hander that packed an emotional wallop with an authentic sense of time and place as it deftly explores the aftermath of 911 in New York City.

"Memorable, funny, and moving. Above all, utterly authentic."

4. Curtains – Playlovers

I had such a good time with this. Raucous and bombastic it was simply great entertainment.

"Sometimes you go to the theatre for thought provoking drama, maybe to see something experimental or the work of a new playwright. Sometimes you get a rollicking, entertaining ride that is flat out enjoyable from start to finish."

5. Playhouse Creatures - Her Infinite Variety Ensemble

A strong ensemble piece that mixed absurdist elements with the all too real circumstances of women having to navigate the “bear pit” of 17th century theatre.

6. The 25th Annual Putnam County Spelling Bee - Koorliny Arts Centre

This musical was genuinely laugh out loud funny and had the added bonus of me seeing a large chunk of it from the stage before bombing out on misspelling “zomathary”.

"This celebrates the absurdity and competitiveness of that most unique of American "sporting events", the spelling contest. Each of the contestants battle not only each other but the expectations of parents; their own high hopes; raging hormones; and the pressure of being a winner."

7. The Producers – Playlovers

A cumbersome beast. The first forty minutes were stretching my patience but then something magical happened after the story finally kicked into gear and the production flies especially in the second act.

8. Cats - Regal Theatre

I’ve never seen the ‘traditional’ interpretation so was not troubled by the choice of 40-50s style costuming. I have no idea what was going on as the story is surreal to say the least but the highlight came when the cast got their raunch on to McAvity the Mystery Cat.

9. Le Gateau Chocolat – Fringe

Fabulously talented, gloriously outrageous and deeply personal, this was a highlight of the festival.

10. Holly & Ivy - Marloo Theatre

This one act play was the middle offering in a “Trilogy” of productions. It snuck up on me with its understated acting and beautifully drawn characters and navigates what could have been a very problematic twist.

Male Performer of the Year – Kingsley Judd for Animal

Female Performer of the Year – Rhoda Lopez for Madame Piaf

Special Mention – Adam T. Perkins for The Guys

Thank you to ALL the actors, directors, playwrights, musicians and crew of ALL the productions I saw in 2013. It truly is a pleasure to see your work come to life. Perth has a vibrant theatre scene with amazing talent to be found. Long may it continue.

Enter Stage Left, Singing - A Personal Musical Theatre Journey (17 November 2013)

Yesterday I travelled down to Mandurah for a production of The Phantom of the Opera. This is the fourth time I have seen Andrew Lloyd Webber’s best known work, the previous three being in Sydney where my slow journey to musical theatre appreciation began. Indeed, it is the first musical I ever recall going to, circa 1995-6.

"I had moved to…

Dissolve to flashback, probably in black and white with period costume and a lamentably scratchy soundtrack to denote a simpler, more analogue time.

… Sydney in 1994 for work and my parents had proudly announced they were taking me to Phantom of the Opera when they were next coming to visit."

Parents (proudly): We’re taking you to see Phantom of the Opera!

Me: Am I being punished for something?

Parents (enthusiastically) (yes, they always talked in wrylies back then): You’ll love it. It’s GREAT!

Me (thinking to myself): I wonder if I can fake my own disappearance before they arrive…?

It’s true, they didn’t literally drag me to the Royal Theatre; they actually physically deposited me in the third row because I thought going to a musical was tantamount to sticking my head in a vat of boiling fat.

Then something strange happened.

Cue something-strange-happening music and the introduction of fake smoke for effect.

I kind of liked it!

Dad still tells the story - yes, even last night when I followed the coast back up to the family home for dinner - that in the early going when the chandelier plummets to the stage I jumped three feet in the air.

I had no idea what to expect so the spectacle and showmanship of it all had this tyro enthralled. I enjoyed the songs even though I’m not a fan of Act 2 with its reworked melodies and lyrics from the first half.

I ended up taking my sister along when she visited from Canberra; then later my partner at the time which started a tradition. For her birthday we would go out to dinner, see a show, then have supper on my balcony, my apartment being in the heart of the city. I think, maybe, possibly, one of the other shows was Crazy For You and I can’t recall the third. I also saw Les Miserables on a return visit by my parents.

I returned to Perth in 1998 and musical theatre largely became an afterthought.

There were sporadic outings:

We Will Rock You when I was in Melbourne for work in 2003.

Bare - A Pop Opera by Playlovers around 2008.

Spamalot, again in Melbourne for work maybe 2008/9.

Porgy and Bess at His Majesty’s Theatre in Perth.

Cabaret on a return visit to Sydney.

Avenue Q at the Regal Theatre, Subiaco.

Jeff Wayne’s War of the Worlds at Burswood Dome.

Christmas with the Andrews Sisters in 2011.

Checkout the Musical as part of 2012’s Fringe Festival.

We Will Rock You was horribly written by Ben Elton but had all those classic Queen numbers so nobody seemed to mind the abysmal storyline as we sung along raucously.

Bare featured a ‘wow moment’ when one of my favourite local performers, Rhoda Lopez, launched into “911! Emergency!” and blew the walls off the joint. It also featured Gemma Sharpe who would later read for me at Script Lab, and, unbeknownst to me until recently, Cassandra Kotchie, who made my coffee at a local writing haunt for ages before confessing she was a WAAPA musical theatre grad (Cass!).

I adored Spamalot and have never laughed so hard especially at the audacity of "You Won’t Succeed on Broadway".

Avenue Q gained greater significance when someone texted me the first two lines of "There’s A Fine, Fine Line" and I rediscovered how good the songs really are, especially that gem of a number.

These were still largely one off events. You’re in a different city for work so you blow off time by going to a show. Or you get free tickets as was the case with War of the Worlds and Avenue Q.

Things began to change while I was doing the PAC Screen Workshops from 2005-2007 and my circle of friends and acquaintances expanded to include far more actors. I’ve written before about my joy of supporting talented friends in their acting endeavours in stage (and film). However, I was attending significantly more plays than musical theatre but that ratio has slowly shifted in the last couple of years.

2012, however, was the major turning point when I saw three shows that featured a then friend and really enjoyed each one. She is a talented performer and it opened my eyes to a vibrant independent musical theatre scene. For as little as $20 you could see a fabulous show with real talent and commitment. While we’re no longer friends that revelation she was the catalyst for has propelled me into 2013 where yesterday’s show was the ninth musical I’ve seen this year. The other eight are:

The Wizard of Oz, The 25th Annual Putnam County Spelling Bee, Curtains, The Producers, Nevermore, Madame Piaf, Cats, and A Pirate’s Life For Me.

I guess I should pause to talk a little about the local incarnation of Phantom. Paul Spencer was fantastic as the eponymous villain and was well supported by Kristie Gray, Cassie Skinner and Jake Garner as Carlotta, Christine Daae and Raoul respectively. The sets were good and apart from a few technical hiccups with microphones (thankfully, minor characters in minor moments) it was well presented. The problem, however, to my ears, was the orchestra which was all over the place. So while the singing was good with Spencer the standout, they were constantly battling the music which was muddled and didn’t do the piece justice.

Having said that the theatre was full and there was an enthusiastic standing ovation so it has no doubt done well. Though again, only a 4 show run, the same as Hairspray by the same company last year which I enjoyed far more.

I had rather impulsively booked a ticket and it has brought me full circle from being horrified to see a musical back in the mid-90s to now savouring these local productions with such talented people on stage and all the crew and technicians who make them a reality.

To my musical theatre friends I say this - I finally have joined the party as an enthusiastic and consistent audience member! Just promise me you’ll never, ever ask me to sing!

What other shows should I see? What are your recommendations? Chicago is one of my all-time favourite movies and I’d love to see Velma Kelly and Roxie Hart onstage but hit me up with some other productions I should look out for!

Curtains - Playlovers (21 September 2013)

When the supremely untalented star of Robbin’ Hood of the Old West is murdered during her opening night curtain call, Lt. Frank Cioffi must save the show and solve the case – without getting killed!

This sleuthing business seems to be an exhausting task. What with all those suspects and a show that still has to be staged. Sleuthing whilst singing and dancing? Truly remarkable!

Let me say right off the bat that I loved this. Sometimes you go to the theatre for thought provoking drama, maybe to see something experimental or the work of a new playwright. Sometimes you get a rollicking, entertaining ride that is flat out enjoyable from start to finish. The latter was certainly the case tonight at Playlovers production of Curtains.

Billed as a "musical comedy whodunnit", the show has an immediate pedigree with the presence of Kander and Ebb in the credits. There were, indeed, moments of dialogue and music, even story beats that reminded me very much of Chicago. Then there was an odd [I named a play here that might give the game away so I have redacted it] vibe in the latter stages but we'll get to that later.

This is a big, bold, sassy musical with great songs, big set pieces and is genuinely funny. For an independent theatre company to tackle such a huge production (26 cast and a 10 piece orchestra) is wildly ambitious. To pull it off in such style is to be absolutely applauded. Great also to see a full house on the night a local football team was dominating the conversation around town.

The story revolves around the murder of the presumptive yet untalented star that no-one likes (an amusing cameo by the director!) of a new show opening in Boston that all involved hope will make it to Broadway. The cast are "sequestered" within the theatre as a police detective struggles to solve the crime whilst falling for one of the show's lesser stars; advising on how to make the production threatened by poor reviews better; oh, and dealing with the murder of other cast and crew members along the way.

It plays with the isolated murder-mystery trope but also amusingly comments on the myriad of issues faced when mounting a large musical production. The show within a show device plays out nicely with numbers reworked and reprised as part of the race against time to garner a more favourable review from a nasty Bostonian critic.

I apologise in advance for not mentioning the whole cast but they were uniformly excellent. Of the main performers:

Tyler Jones plays Lieutenant Frank Cioffi and he was fantastic in a role that had a LOT of very precise, rapid paced dialogue. He handled it with aplomb and was the standout from the moment Cioffi makes his introduction.

Claire Taylor plays Nikki Harris who "has her fingerprints over everything" and is the attention of Cioffi's romantic affections. They have a lovely dance number in the second act and Taylor plays Nikki with an endearing mix of ditziness and innocence.

Therese Cruise is the lyricist who assumes leading lady status after the murder of unpopular star Jessica Cranshaw. Sporting the strongest singing voice, Cruise has several great numbers, the highlight being the "Wide Open Spaces" finale. Her character is involved in the second love story here, playing off Tom Hutton whose character is her songwriting partner and estranged husband. They have a touching moment in "Thinking of Him/I Miss the Music (Reprise)" in the second act.

Other standouts are Helen Carey as the producer Carmen Bernstein who has a hard-headed approach to the theatre business ("It's A Business") and daughter Bambi played by Tamara Woolrych. Why does she call herself Bambi? The answer says a lot about the mother-daughter relationship and Woolrych threads the needle between bitchiness and disappointment as her character tries to prove her worth in the large shadow cast by her mother. Speaking of bitchiness, David Nelson as the director has a grand old time slinging insults the way of all and sundry to hilarious effect.

The set is simple but effective. The costumes are great with the added razzle-dazzle of typical showgirl flourishes. The orchestra was at times a little too loud for the singing but otherwise was in good form. The choreography took total advantage of the large space and the show was full of movement, never slowing down for an instance.

The story gets a little convoluted and silly deep in the second act as twists are revealed and revelations made but by that stage I was well and truly sold and having a great time with this. So I forgave the few quibbles I had with such plot machinations which reminded me of the aforementioned play that I didn't aforemention. The cast had insisted in the closing number bad things could happen to anybody who revealed the murderer! So I'm not even risking an obtuse reference!

Directed by Kristen Twynam Perkins with Musical Direction by Belinda Flindell and Choreography by Tammie Anne Rafferty this is definitely one to recommend.