The Sound of Music - Melville Theatre Company (17 November 2024)

The success of any production of the beloved The Sound of Music is always going to hinge on the performance of Maria. In Hannah Charlotte the Melville Theatre Company has found its star who sings the iconic songs beautifully, sets the tone and leads the large company with style, and works seamlessly with the seven Von Trapp children, another barometer of success. Perhaps not quite as successful in depicting the romance with the Captain, it's an impressive performance nonetheless. 

There is real charm to the production, driven by Charlotte's portrayal and some lovely turns by the children; notably Quinn Dally as a disarmingly forthright Brigitta, and 9-year-old Halle McDonald who is utterly adorable as Gretl. 

Nigel Goodwin is suitably stiff and uptight in the early going as Captain Von Trapp before the character softens on recognising the impact Maria is having on his children. The transition to falling for her isn't quite there but we get swept up in the romance as the storm clouds of an encroaching Nazi Germany gather. 

In this it's a musical very much in two halves. The last time I'd seen the stage production was in Melbourne back in 2016 where, I confess, to being totally smitten with Amy Lehpamer as Maria. I'd forgotten though how many classic Rodgers & Hammerstein songs there are in Act One. It's a cavalcade of music theatre standouts - the title song, How Do You Solve A Problem Like Maria?, My Favourite Things, Do-Re-Mi, Lonely Goatherd, and Climb Every Mountain. It also strikes me, after recently seeing a modern musical which is relentlessly paced, how stately this is. It takes its time as it unfolds memorable song after memorable song with the story interspersed throughout. You sit back and savour the result. 

The second act, for me, isn't as successful because it gets a little bogged down in plot mechanics as politics and the subsequent threat to the Von Trapp family grows. Musically, there are a lot of reprises to those first act tunes leaving Edelweiss as the most notable song. We'll get back to that later.

This is a huge community theatre production with 22 listed cast members along with 13 Nuns and 3 Postulants. The roles of Marta and Gretl, the two youngest children, have alternates. So a company of forty. This lends the show a sense of scale and provides vocal depth and, in the case of the show opening Preludium, great beauty with so many voices in harmony. 

Director Neroli Sweetman has extensively used the floor space in front of the stage and the central steps leading up to it, again to give a sense of scale and spectacle. Guests in the second act party scene are stationed on either side of the floor; Liesl (Escher Roe) and Rolf (David Bell) sing the sweet Sixteen Going on Seventeen in front of the stage, left; the foot of the stage and stairs are utilised for the impossibly cute So Long Farewell. We even had three Nazis sitting next to us in the front row for the Kaltzburg concert!

The stage itself is well appointed with sumptuous furniture and rear screen backdrops to depict the Von Trapp household and, of course, the hills. Indeed, there is as large a number of designers and crew to support the size of the show, including two people listed for Continuity which is hardly surprising given the logistics involved. Musical Director Nick Navarra has used a backing track for the music which is sometimes a little too overpowering as it swells in grandeur, however, it has allowed him to focus on the vocal performances which are, mostly, excellent with one curious exception. 

Costume Coordinator Michelle Sharp has handled the task of costuming so many performers in so many styles with aplomb. From the more austere habits of the nuns to the clever evolution of the children's clothes as Maria's influence takes hold, to the opulence of the guests, practicality of the servants, and the severe trim of the Germans. It truly is shocking to see a swastika armband which is entirely the point.  

Sound by Mack Chidlow is generally good, however, microphone pickup was occasionally slow, especially in the larger numbers. Then there's the situation I didn't quite understand - Goodwin's mic was fine for dialogue but was surprisingly underpowered for his vocals. His singing, therefore, came across as tentative. I wasn't sure if that was because of the volume disparity or the volume disparity was because his singing wasn't as strong as certainly Charlotte's though he fared better in harmonies. It unfortunately cruelled Edelweiss which should have been an emotionally resonant moment.  

Other performers to catch the eye - Eilish Marie Blackmore as an empathetic Mother Abbess who guides Maria back to the Von Trapps and handles the challenge of the first act closer well; Peter Shaw and Imogen Porter as Franz and Frau Schmidt respectively who quietly add a little levity to proceedings until the mood turns as the Anschluss is enacted; Esher Roe as the oldest child Liesl in a lovely portrayal that couldn't be more removed from a role she played earlier in the year; and Darren Goodison who flirts with being too preening as Max Detweiler yet made me laugh with his "flowers and a certificate" shtick towards the end. 

This is a well-presented production of a perennial classic. Fans of the movie will lap it up. There were people happily singing along all around me. The scenes and songs featuring Hannah Charlotte and the children are simply a delight. Shout out to Choreographer Matilda Jenkins and Sweetman for staging these moments with obvious affection. A charming time at the theatre. 

The Sound of Music is on at the Civic Centre Main Hall, Almondbury Road, Booragoon until 30 November.  

Cast photos by Curtain Call Creatives

Peter Pan: Broadway's Timeless Musical - Koorliny Arts Centre (18 November 2023)

Ah, to never grow old and live a life full of adventures. Alas, the closest one can do is go to a theatre full of eager children (one a little too eager) and hope for a sprinkle of magical fairy dust. Then to abandon all responsibilities for a couple of hours, learn to fly, abscond to Neverland... and go fight pirates. I'm with you Peter! Indeed, there was a healthy dose of magic in this production in the form of lighting and set design, costuming and props, and well staged sequences such as I'm Flying. It's also a joy to see so many young performers on stage which is only fitting. 

A packed theatre waited expectantly as the overture played with the stage curtain closed. The wait was worth it as the reveal of the set was quite something. I could only dare hazard to guess how many lights had been fixed to the rear curtain and the Darling nursery was vibrantly lit and well dressed. This would be a common theme throughout - lights affixed to the trees of Neverland and, most impressively, the wings of the resident fairy lending everything a bright and enchanted quality. The pirate ship of the second half was another well realised and striking piece of set design by Quantum Building Services, Stephen Carr, and Pear Carr. 

Of course, the lighting design by Chloe Palliser also gets to play with the depiction of Tinkerbell as a focused ball of light that flitters around the stage to 'land' on characters, objects, and walls (lighting operator Hayley Smith). This is accompanied by whimsical musical cues as Tinkerbell 'speaks' to Peter. It's all rather delightful. 

In line with this, the costumes are bright and bold from an almost elvish looking Peter to the mock theatricality of Captain Hook and his pirates; the sleek design of the Neverland natives; the patchwork quality of the Lost Boys; with classic-style nightwear for the Darling family including an elegant night dress for Wendy. Oh, and who needs animatronics or CGI when you can have Matthew Holmes in a dog costume AND a crocodile suit with a (not quite) stealthy form of propulsion?! Wardrobe attributed to Melissa Kelly, Matilda Jenkins, and Katherine Freind. 

Perhaps the real magic though is in Matilda Jenkins' choreography. The show really shines in splendidly executed dance sequences such as Neverland Waltz and True Blood Brothers involving much of the cast. Then there's the jauntier antics of the pirates in Hook's Tango, Hook's Tarantella, and Hook's Waltz.  

The one aspect that was a little out of balance was the volume of the backing music. It's a gorgeous Broadway score but the sound level meant the performers' mic volumes were way up to compete and it felt like a battle most of the time. Dialogue and lyrics were often lost or obscured, especially for Ryan Taafe as Hook who was using an embellished accent to accentuate the villain's, um, villainy. There were also quite a few 'shouty' moments and when you have so many performers on stage, most mic'd up, this can lead to an overwhelming cacophony.

To the performances and Christie McGarrity made for a robust Peter Pan who sang well and flung herself around the stage with boundless energy and hands-on-hip swagger. McGarrity enthusiastically led the audience in reviving Tinkerbell, and cawing like a crow in I've Gotta Crow. A radiant Jordyn Gallop was sincere and lovely as Wendy and shared a highlight vocal moment with McGarrity and Katherine Freind (Mrs Darling) in Distant Melody. A young performer to watch.

Another young performer to make her mark was Kayla Brown as Tiger Lily who projected a regal bearing as leader of the Neverland Natives whilst displaying excellent dancing skills. Rp van der Westhuizen gave Smee a hint of Jack Sparrow as he played the comic foil to Captain Hook; a niche he is carving out nicely after a similar comic turn in Catch Me If You Can earlier this year. Taafe, after a long absence from the stage, brings authority to the dual roles of Mister Darling and Captain Hook; the latter with some snark thrown in for good measure. 

Melissa Kelly as Liza has a graceful featured sequence with the Neverland Natives and Neverland Fairy (Emma Fleming) in the (aptly named) Neverland Waltz. The Lost Boys were all charming led by a likeable turn from Sophie Lewin as Slightly. Our Michael Darling on the night was Jack Sharma who was full of boyish exuberance while Matt Ballantine provided a more calming demeanour as John Darling.  

Directors Blake Jenkins and Neroli Sweetman have assembled a talented cast of youngsters (with a few savvy theatre veterans!) to present a visually enchanting production that will no doubt be a hit for children and parents alike. It was fantastic to see close to a full house with so many children in attendance. Perhaps the secret to never growing old is having plenty of theatrical adventures seen through the awe and wonder of children. Peter Pan is on at the Koorliny Arts Centre in Kwinana until 25 November.