Taryn Ryan: West. End. (25 June 2018)

A farewell concert at the Ellington Jazz Club. New beginnings imminent in the UK. Perth loses one of its brightest independent theatre stars. London gains a unique talent, equally adept at belting out a song or acting the hell out of a scene, often whilst wielding her trademark ukulele.

Fittingly, the Ellington was full of friends, colleagues, and those who’ve come to appreciate Taryn’s contribution to the Perth theatre scene over the last few years.

Taryn first burst onto my radar in 2015 with the opening production of her graduating year at WAAPA, playing Little Sally in the musical Urinetown. But it was the mid-year spectacular at the Regal Theatre, Legally Blonde the Musical, where she cemented herself as one to watch with a show stealing performance as Paulette. As I wrote in my review, “I must confess I didn’t even recognise Taryn until checking the programme at interval. She was fantastic as Paulette bringing a different kind of kooky energy to match Elle’s eccentricities. Her showpiece number Ireland was a highlight as was her ‘bend and snap’…” 

Picture courtesy of Chris Firman

After graduating Taryn stayed in Perth to become a fixture of the city’s independent theatre output, particularly at The Blue Room and as part of Fringe World. Notable productions included the autobiographical The Naked Truth which was a quiet highlight of the 2016 Fringe World programme; another Fringe gem, When He Gets That Way, from 2017; and the musical Once We Lived Here at The Blue Room. The latter earned her a spot on my performers of the year in 2017 – “Taryn’s performance in Once We Lived Here grounded the whole production and, most impressively, she handled the emotional range required in the fractured timeline narrative expertly. It’s also a delight to hear Taryn sing after several non-musical roles this year.”

Other lauded productions that I unfortunately didn’t see include Porto (nominated for Best Supporting Actor (Female), PAWA Awards); Laika: A Staged Radio Play; and Tissue. Taryn also contributed her vocal and comedic skills to a reading of the hilarious first draft of Tyler Jacob Jones’ new musical, Summer of Our Lives, earlier this year. It’s an impressive resume.

Picture courtesy of Chris Firman

But back to the farewell concert where Taryn wowed the audience with 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.” She sang beautifully with easy charm and heartfelt emotion over two sets of songs at the intimate Ellington Jazz Club. It was a splendid two hours showcasing Taryn’s immense talent and generosity. Despite declaring that we shouldn’t expect any rehearsed banter between songs there was spontaneous and self-deprecating humour throughout. One of the traits I admire about Taryn is that she is a such a genuine performer – there are no airs and graces or facades here. This builds an immediate bond between singer and audience that is tangible.

In this she was aided by an excellent band comprising Joe Louis Robinson on piano and vocals; Krista Low adding class and texture on the cello; a last-minute replacement on saxophone; Stephen Walker on bass/guitar; and Jasper Miller on drums. Robinson also provided new arrangements to many of the songs. The expert accompaniment was loose and relaxed which suited the evening to a tee.

Picture courtesy of Chris Firman

Then there was the special guest vocalist; a member of Taryn’s graduating WAAPA class, powerhouse vocalist, Megan Kozak. Or ‘pipes’ as Taryn affectionately referred to her as. The camaraderie was there in spades as were the vocal fireworks as Megan nudged, okay, blasted us, into full tilt disco.

Highlights included Sondheim’s Getting Married Today; a stunning rendition of No One Else from Natasha, Pierre & the Great Comet of 1812 dedicated to local theatre writer-director Scott McArdle; the tandem pant-suited disco attack of No More Tears with Megan; crowd pleaser Mein Herr from Cabaret; an original song on ukulele with piano and cello accompaniment from The Naked Truth; culminating in a rousing finale of As Far As The Eye Can See that is such a wonderful moment in the Australian musical Once We Lived Here. A perfect end to a special evening.

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.

Thank you for providing so many theatrical highlights both at WAAPA and in Perth’s independent theatre scene. It has been a singular pleasure to witness you act, sing, strum; move and entertain us.

Once We Lived Here - The Blue Room Theatre & Western Sky Theatre (25 October 2017)

At the question and answer session following the Wednesday night performance Ryan Dawson (who plays Burke) and Megan Kozak (Lecy) indicated how difficult it is to sing with their natural Australian twang. They explained that most musicals are delivered with either an American or leastways neutral accent given the predominance of the US as a generator of this type of entertainment. How refreshing then to hear the unique sounds and vernacular of a homegrown Aussie musical no matter how difficult to maintain. There are lyrics and rhymes in Once We Lived Here that you wouldn’t hear created anywhere else in the world. For that alone this is a notable entry in the modern musical canon.

But the show is much more than that. The setting is utterly Australian – the country farm and its inhabitants battling the elements and themselves to eke out a living. In many ways it reminded me of the Spare Parts Puppet Theatre production simply called Farm from a couple of years ago. Life is bloody tough on the land. Families toil for generations in conditions that would make the average city dweller blanch. There is a fierce loyalty and bond to that land and to each other. Those loyalties are constantly tested and this is where we get to the heart of the musical. 

Times are tough for the McPherson clan. The sheep farm is failing as is the health of the matriarch Claire (Sharon Kiely). Oldest daughter Amy (Taryn Ryan) has managed the farm ever since the death of her father some eight years earlier. Amy's siblings Lecy (Kozak) and Shaun (Joshua Firman) return to the property to be with Claire in what may be her final days. Former farmhand Burke (Dawson) also arrives at 'Emoh Ruo' though his motives are questioned by Amy. Hard earned truths and tragedy ensue as these five distinctly drawn characters interact in the furnace of the drought afflicted environment and competing memories of their shared history. Events of the past are revisited. Revelations made. Futures put in flux.

There is a truthfulness here that is commendable and while emotionally fraught, resonates with authenticity. There are no easy victories, no glib story beats. This heightens the joy we experience when these characters find even the smallest moment of happiness or deliver the briefest of smiles. The humour is distinctively Australian, at times laugh out loud hilarious, and a coping mechanism for the ever present harsh realities of country life.

Behind all this there is a spirit that infuses the musical that strikes me as quite special given it is counter-intuitive to what could be perceived as the general bleakness of the premise. It celebrates the strength and resilience of these characters and of those who choose to makes sacrifices, personal, professional and emotional, to work in the country. The love between siblings, and between a mother and her children, also rings out loud and clear. It's an impressive and ever present energy. 

The Book, Music and Lyrics are by Matthew Frank and Dean Bryant who, as was remarked at the QandA, are country lads. The structure involves cutting between two timelines - the present and eight years early when a key event shaped who these people have become. I admit, I was a little disoriented when the first 'flashback' occurred but once I keyed into the device it was fine. In this I was aided by the lighting design and notable change in performances - Shaun, for example, is only 13 years old in the flashbacks.

I very much liked that Frank and Bryant found a simple yet creative way to deal with exposition in the early going as Lecy uses a handheld camcorder to capture her feelings on returning to the farm and to interview her siblings. It works because it reveals so much about Lecy, the materialistic girl who fled to the bright lights of the city. It also sets up the family dynamics as the others react to her posturing. 

The music, beautifully played by the three piece band of (Musical Director) Joshua Haines on piano, Harry Love (guitar) and Luis Santos (double bass) in a room off to one side, is evocative and perfectly balanced with the vocals. So much texture is created here. The songs move the story forward and give us character insights aplenty. There's wonderful use of reprises to buttress emotional beats and recurring motifs for each character. Highlights include Ryan's Gotta Fix The Pump and As Far As The Eye Can See, Firman's haunting The Shearing Shed, and the moving The Leaves of Summer. Then there's the showstopper We Like It That Way that opens the second half in hysterical fashion. The cast sang superbly in the small space.

The dramatic heft of the Book means that the five performers have to show off some serious acting chops to go along with the impressive vocal talent. Foremost in this is Ryan who plays the practical, responsible daughter who, in many ways, is the replacement for the father that is so sorely missed. Ryan, one of the brightest stars in Perth's independent theatre scene, is simply terrific. There is a sequence where her character Amy finally lets all the bottled up emotions explode into life to quickly cut to a moment of happiness in the past which is just as swiftly undercut back in the present. The emotional range on display in a maybe 5-6 minute sequence is extraordinary.

By contrast, Kozak imbues younger sister Lecy with self-absorbed snark, and overt flirtatiousness when it comes to Burke. There is a certain desperation that bubbles under all this which becomes clearer in the second half. I'm a big fan of the off-beat comic energy Kozak brings to her performances and director Andrew Baker utilises it well here never letting it verge into caricature. 

Joshua Firman does incredibly well with a tricky role - as the larrikin 13 year old who grows up to be the cruising-through-life Shaun with a gnawing sense of emptiness that festers. Firman has charm to burn so it's intriguing to see the restraint deployed in the present day sequences. He nails the cheeky, boyish enthusiasm of We Like It That Way and his work with Dawson in Guitar Lesson is excellent. Firman also has such a joyous singing style when let loose that is a pleasure to experience.

I had not come across Kiely or Dawson before but both round out an excellent cast. The former oozes maternal love and protection as Claire, never allowing the character to be defeated by either her illness or the past. It is a performance of great integrity and decency that anchors the production. Likewise, Dawson's Burke is a voice of reason amongst the emotional tumult. His character is a multi-faceted link to the McPherson children that sees him display fatherly concern towards Shaun; care for Lecy whilst rebuffing her advances; and notably a tenderness mixed with some tough love towards Amy. Again, he gives the character an aura of down to earth decency.

Props to Andrew Baker and fledgling company Western Sky Theatre for staging a two hour Aussie musical at The Blue Room and assembling such a talented cast, band and production team (shout outs to Rhiannon Walker for the rustic set design and costumes and Katrina Johnston for the lighting design). His intention is to mount productions that attract talent that is either from WA or trained here. If this opening salvo is any indication we are in for many excellent productions. 

Fringe World 2017 - Various Locations (1, 7 & 14 February 2017)

A Leading Lady In Waiting - Kimberley Diane (1 February 2017)

For many people music provides the aural signposts to important moments in their lives - memories, significant events, people. For Kimberley Diane that soundtrack is not only for personal highlights and lowpoints but tracks a career drenched in music, notably musical theatre.

The show follows her love affair with musicals and the roles she has played and hopes to play in the future. This gives us an eclectic set of songs from traditional musicals such as Guys and Dolls, My Fair Lady, and Mary Poppins to a couple of Andrew Lloyd Webber's most well known songs, to Jason Robert Brown, Wicked and even a song from The Wedding Singer! All of them wonderfully sung with impressive sound quality and crispness upstairs at Rigby's.

Kimberley is personable and engaging in the intimate space and the insight and context she provides between songs is relatable and charming. Throw in more costume changes than a Cher concert and a surprise makeover and this is a celebration of the passion, commitment, and talent required to follow your dreams and idols.

And when those idols are among the biggest names in movie and theatre history you know you're in for a fabulous show.

Only one more left, Wednesday night at Rigby's. Definitely recommended.

When He Gets That Way by Ann Marie Healy (7 February 2017)

Dear Diary,

Today I bravely set forth from my well of sadness. I visited a magical place where a mistress of the house and her handmaiden regaled me with tales of Him. There was spirits/booze, a ukulele and an itsy weensy piano. I laughed gaily. Many ups and downs on the stepladder of life. Must tell friends.

Let's not beat around the bush - this is my gem of Fringe to date. Beautifully written script - witty, clever, literate, sly - given great service by two terrific performances courtesy of Lisa Louttit and Taryn Ryan. The former plays a vacuous mistress who seemingly knows nothing of real love or even life beyond the strictures of her class; the latter a servant with a peasant upbringing whose burgeoning spark of life inspires and confounds her mistress.

The device of the duelling diaries that feed off each other as the women compete over the lovely mcguffin of 'Him' is astutely calibrated both in writing and performance.

Throw in a clutch of original songs and meticulous use of blocking to represent relative status on the simple set which features a stepladder and you have a smart, funny, and entertaining play that is a must see at the Flaming Locomotive.

I can say with no hesitation, "I wasn't bored, Miss."

Cheek to Cheek - Megan Kozak & Harry Prouse (14 February 2017)

Take two talented performers, an outstanding accompanist, a roster of standards, a comfortable venue, and the threat of puppetry and you have a cabaret show that is like a cool breeze on a summer's day.

But let's face it, there are plenty of shows at Fringe that have those elements (well, except, sadly, the puppetry). What elevates Cheek to Cheek to the top ranks is the outstanding chemistry Kozak and Prouse share. There is an immediate ease to their onstage schtick as they bounce off each other with banter between songs and interaction during them.

This show has a loose framing narrative unlike last year's Dinner Is Served. Here it is their relocation to Melbourne and all the things that come with the struggle to move from 'Burritos to Broadway'. Prouse plays the straight man with consummate charm which allows Kozak to vamp in her screwball comedic style. It's a joy to watch especially those little unscripted moments that feel spontaneous and totally organic.

David Wickham adds class on keyboard with an expressive playing style that is fascinating in its own right. He also shows real joy at his stage mates' antics.

The chemistry is best exemplified during the back and forth of Anything You Can Do. Other songs include I've Got You Under My Skin, The Trolley Song, Smile, and a helping of Streisand. All wonderfully sung.

I'd tell you to rush out and buy a ticket but the run is sold out. And rightfully so.

*originally published at facebook.com/perththeatrereviews

The Naked Truth - Fringe World 2016 (29 January 2016)

Most shows you’ll see during Fringe World are quite frenetic. Rapid fire comedy; manic movement; full tilt singing, choreography, acrobatics; whatever it takes to attract your attention in a 700 strong programme. 

An aspect of The Naked Truth that I enjoyed and appreciated is that the show is like an oasis amongst all the madness. 

Almost conversational in tone it is an engaging portrait of a talented artist in an unusual setting. That artist is WAAPA trained Taryn Ryan and the circumstance is the exploration of her ‘career’ as a life drawing model.

The audience was encouraged to bring art material and there were sketch books and pencils available at the venue as well. We won’t detail my woeful attempts at drawing here; however, there were drawing exercises throughout and some relatively skilled practitioners sitting around me.

Ryan was accompanied by Emma Vanderwal on cello while she played the ukele. Songs were all originally written and beautifully delivered by Ryan with wit and style. The acoustics at the venue were good so the musical components were crystal clear and Ryan has a warm and powerful voice as befits her musical theatre training.

The show really is about how she came to be a life drawing model and to answer all the questions that usually follow. It’s an interactive experience with a couple of audience members asked to come up to pose to demonstrate how difficult it is to stay still for even relatively short periods.

We were also prompted to ask questions both called out and written down anonymously. The answers were amusing, insightful and shone a light on a subject I certainly had little knowledge of. 

The songs did likewise and the inclusion of a cellist added a touch of class to proceedings. Ryan has that knack for making you feel like she’s talking only to you. It fosters a real connection between performer and audience.

It’s the finale though that puts a quiet punctuation point on the show as Ryan not only talks the talk but unrobes to pose for a full five minutes.

The Naked Truth is on at the Flaming Locomotive until 6 February.

The Crossing - Fringe World 2016 (23 January 2016)

Tales of corporate greed and malfeasance have always been a staple of storytelling in one form or another as people react to the inequities of capitalism and big business. But those stories appear to have taken on a greater malevolence since the Global Financial Crisis as countless lives have been ruined as a direct result of institutional incompetence. One of the biggest targets, of course, is the banking industry and it’s here that The Crossing sets its tale.

Stella (Taryn Ryan) is ‘corporate fixer’. She cleans up any mess the staff makes and ensures that damage control is effectively and rapidly put in place. But there’s been a leak to the media – a very damaging leak - that threatens the bank and highly placed executives. She is tasked to find out who the source is and to shut down the story… at any cost.

In this she is assisted by her colleague and mentor (Erin Hutchinson) and the barman counsel of Nick Maclaine who is attracted to the young and ambitious banking employee. As she interviews staff (a variety of roles played by Maclaine) Stella discovers an unsavoury truth that threatens her own future and spirals the situation out of control.

Billed as a ‘noir cabaret’ The Crossing also incorporates songs and a distinctive score composed by Elliott Hughes and played to great effect by Jackson Vickery on the Vibraphone. Great effort has been made to create atmosphere through the score, sound effects, and the lighting design. It is certainly a stylish looking and sounding production in the PICA performing arts space. I particularly liked the ever changing messages on the light box as if they were chapter headings of a noir novel.

The quality of the performances is also very good. Maclaine is a likeable presence as the barman dispensing whisky infused wisdom while struggling to keep his business afloat. He also gives his various employee characters enough distinctive characteristics to delineate them clearly. Hutchinson gets to vamp it up a little as a boozy lounge singer; a stern senior executive; but most critically as the mentor who is a key player in Stella’s descent into the corporate rabbit hole of deceit and greed.

Then there’s Ryan who graduated from WAAPA last November. She certainly looks the part of a go-getting executive, all sleek and driven, with hair tightly pulled back, heels and corporate attire. She exudes confidence and competence particularly in a long ‘interrogation’ sequence which is complicated by largely being sung-talk.

So all the elements are in place but the show didn’t work for me for several reasons more to do with the writing and conception.

The leak itself felt like a complete McGuffin. I didn’t know what it was, why it was so devastating that it prompted death threats, and basically what the stakes really were. That meant I didn’t understand what would drive Stella to committing actions that end up being quite excessive in the context of the corporate world. There needed to be something more than maybe she didn’t end up with a bigger office. She needed to be in direct personal danger but that was never explored. This felt like a cross between Michael Clayton and Up In The Air but the stakes of the former weren’t there nor the emotional heft of the latter.

Also, the key relationship was never established. A lot of time was spent between Stella and the Barman and that was perfectly fine as a subplot but the heartbeat of the piece is between Stella and her mentor. I never saw that bond in action to therefore understand subsequent developments which form the emotional pulse of the story.

    

Finally, I was confused by the overall tone. There were moments of comedy and shtick that felt jarring within the drama and noir of the world created. I didn’t understand what the boozy lounge singer represented other than Hutchinson gets to sing the more melodic songs which she does well. The senior executive with over exaggerated shoulder pads and demeanour felt like straight parody. Even the musical component didn’t quite gel with the tension of the interrogation scene undercut by song. There seemed so many disparate parts – comedy, drama, noir, parody, musical, cabaret – that I was never quite sure what ultimately this was.

Stylish to look at with an intriguing score and good performances this didn’t quite click for me with abrupt tonal changes that undercut the drama and noir sensibility.

Written by Finn O’Branagain, Directed by Kathryn Osborne, with music composed by Elliott Hughes, Musical Direction by Johannes Lubbers and performed by Jackson Vickery, The Crossing is a The Last Great Hunt production and stars Erin Hutchinson, Nick Maclaine, and Taryn Ryan and is on at PICA until 30 January.