Who's Your Baghdaddy Or How I Started the Iraq War - Curveball Creative (27 June 2020)

There are few events in history that you can definitively point to and say, “that changed the entire world forever.” There have been two such events in the last twenty years. We’re living through one right now as a global pandemic has forced us all to rethink how we live, work and interact with each other. The other occurred on 11 September 2001. One of the many ramifications of that terrorist attack was the manufactured war with Iraq as a wounded America sought vengeance. A war built on a foundation of lies.

Fascinating then that this show deals with both earth-shattering occurrences; in content and how that content is delivered in a socially distanced world where the arts have been decimated by Covid-19 restrictions and government malice.

Three months ago, I’d never heard of the video application Zoom. It’s now ubiquitous. As theatres around the world have been shuttered, performers and production companies have switched to online applications to share concerts or open the vaults to previously filmed material. Who’s Your Baghdaddy, however, is billed as Australia’s first live-streamed musical.

There were a few glitches. The first entirely of my own making. I had the 7.30pm start time pencilled in… but, of course, it was Eastern Standard Time not WST and this poor Western Australian joined way late. Hey, I’m out of practice. Then I had the screen freeze for what seemed like an eternity. The only remedy was to refresh which meant I missed another chunk. After which it was quickly Intermission. I had intended to write a proper review, my first in quite some time, but given I’d missed a lot of the first half I’ll give my impressions only instead…

A considerable amount of thought, preparation, and technical expertise has gone into all aspects of this production. Staged in various rooms at the one location, each performer had their own space which was beautifully lit (Phoebe Pilcher) and dressed (Isabel Hudson) appropriate to their character. The ‘interaction’ between them was well choreographed (Leah Howard) and directed (Neil Gooding) as the main viewing screen was populated with character boxes in varying configurations. The sound design (David Bergman) was crisp for dialogue, music and vocals (MD Steven Kreamer). It was an impressive feat of coordination with all departments working seamlessly to present a professional show. I suspect Technical Director Michael Goodyear had his work cut out and should be rightfully lauded for pulling it off with aplomb.

The cast was uniformly excellent and worked well together. I can only imagine the time and effort it must have taken to have not only the vocals in perfect synchronisation but the blocking as well. I was particularly impressed with Matt Predny (Rickart Becker), Laura Murphy (Berry Stanton), and Katrina Retallick while Phillip Lowe’s portrayal of ‘company man’ Tyler Nelson dominated the early going of the second half.

This is where the Book takes a turn away from what appeared to be a satirical first half to a more serious tone. The notorious Iraqi defector Curveball played by Troy Sussman largely disappears until the end of the show where Sussman delivers the most memorable and moving song, Speak To Me Tomorrow. This also means his handler, played by Predny, is absent for much of backend of the production as the focus switches to the people who could have spoken up but, for various reasons, did not. Colin Powell’s shameful presentation at the UN is a low point of deception and wilful disinformation. Some of it based on false intelligence provided by Curveball. Many maintain to this day that Powell knew that this and other fabrications were completely bogus. Bush and his Neocons got the war they were spoiling for.

While what I saw of the satire perhaps wasn’t as biting as it could have been, nor the drama as damning, overall this is a slick production that admirably fills the present void of live content. It points the way to what is achievable using technological solutions when more traditional methods are not an option or constrained. It will be interesting to see if it is a passing phase as restrictions ease or whether it becomes a viable delivery mechanism for production companies. Regardless, Who's Your Baghdaddy is a bold and ambitious show tackling a still controversial subject.

Directed by Neil Gooding with Musical Director Steven Kreamer and Technical Director Michael Goodyear, from music and book by Marshall Paillet, lyrics and book by A.D. Penedo, based on an unproduced screenplay by J.T. Allen; starring Doug Hansell, Matt Predny, Troy Sussman, Phillip Lowe, Laura Murphy, Adam Rennie, Katrina Retallick, and Blake Erickson.

Heathers The Musical - WAAPA (20 March 2017)

WAAPA is at its most adventurous in recent years with the choice of production in the first slot of the graduating MT class. Heathers proves to be no exception. Based on the bitingly satirical 1988 cult movie that starred Winona Ryder, Christian Slater, and Shannen Doherty, this captures the over-the-top tone perfectly while retaining the wry observations about teenage suicide, bullying, and depression with what was, at the time, almost a prescient foreshadowing of school massacres.

It's dark subject matter but the surface level presentation is infectious rock music with subversive lyrics; a riot of colour in staging, lighting, costuming, and rear screen projections; and exuberant choreography befitting the age of its characters. It's a fun show with energy and black humour to burn.

Monique Warren gives a star turn in the role made famous by Ryder. She sings superbly, looks fantastic, and I was impressed by her acting throughout. It is an eye-catching performance. Nick Errol is the square-jawed nemesis who nicely plays the arc from cool outsider to something far more deadly. His Our Love is God is a highlight.

Jenna Curran makes her mark as the Queen Biatch and ruling Heather until misfortune strikes. It's a delightfully venomous portrayal. The other two Heathers are played with swagger and style by Daisy Valerio who has a standout moment with the aching Lifeboat while Meg McKibbin assumes the red scrunchie of supreme bitchiness as the body count mounts.

Other highlights:

David Cuny's and Tom Gustard's hilarious Blue; Laura Jackson's beautiful solo Kindergarten Boyfriend; Cameron Steens' and Benjamin Colley's boisterous My Dead Gay Son; and Mackenzie Dunn cutting loose as Ms Fleming in Shine A Light.

As always, David King marshalls a fine orchestra in what is a cracking rock score and no less than Andrew Lewis himself directs this with great pace and playfulness.

A wildly entertaining start to this cohort's final year.

*originally published at facebook.com/perththeatrereviews

Chicago - Koorliny Arts Centre (18 February 2017)

It's fair to say Kander & Ebb's classic is one of my favourite musicals - great songs, great music, sexy, slinky and sassy with that other musical theatre giant Bob Fosse adding his unmistakable stamp.

It's a pleasure to report then that today's sold out matinee was a real treat and a fine start to Koorliny's community theatre season.

Now, despite, ahem, entreatments to get me back in the reviewing game, let me instead nominate some of my many highlights...

The orchestra added the sass and swagger and I was particularly impressed with elements you don't usually hear such as banjo and accordion. Props to Emily Gelineau on violin and a cracking brass section.

Elethea Sartorelli was excellent as Velma Kelly with two standout sequences in I Can't Do It Alone and When Velma Takes The Stand.

Helen Kerr came into her own vocally with My Own Best Friend and was the linchpin in several memorable sequences, particularly We Both Reached For The Gun and Me and My Baby.

Jon Lambert was a most sympathetic Amos giving the character's signature song Mister Cellophane impressive pathos.

David Wallace made for a slick and laid-back Billy Flynn with Razzle Dazzle another well staged sequence courtesy of choreographer Allen Blachford's work which was exemplary throughout.

Callan Kneale threatened to steal the show as Mary Sunshine and both Tate Bennett and Ruth Bennett caught the eye in various roles.

Finally, a highlight for followers of community theatre - Sartorelli and Rachel Monamy (a ballsy Mama Morton) - both recent Finley Award winners, sang the hell out of the duet Class.

Funny, sexy, with a roster of great songs the few remaining seats for next weekend will not last long.

*originally published at facebook.com/perththeatrereviews

Singin' in the Rain - Crown Theatre (7 January 2017)

Great way to start the year taking Mum and Dad to see Singin' in the Rain at the Crown Theatre for their Christmas present.

The title number is spectacularly staged and performed at the end of the first act with the full cast reprising it at the end of the show. No need for a poncho as we were up high in the front row of the dress circle.

Gretel Scarlett was fabulous as Kathy Selden; Nadia Coote a scream as Lina Lamont; and our Don Lockwood, Rohan Browne I believe for today's matinee, was also very good. Jack Chambers, however, stole the show in a brilliant comic performance as Cosmo Brown. It was a thrill to also see recent WAAPA graduate Lyndon Watts crush his feature number Beautiful Girl. The orchestra was exceptional.

There were times it betrayed its movie origins and it took a while to build up a full head of steam but there were several great sequences with plenty of tap and the use of the screen for the 'talking pictures' was hilarious.

*originally published at facebook.com/perththeatrereviews

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

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

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

If one of the roles of community theatre is to engage with and entertain its local residents then these productions are among the finest examples we have in the state. Usually a run will only be four to five shows over one weekend but they are always well attended and sit comfortably in the spacious Performing Arts Centre. The local community support is excellent and the venue is a jewel only an hour south of Perth. That support is rewarded with outstanding entertainment.

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

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

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

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

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

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

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

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

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

Carrie the Musical - WAAPA (24 August 2015)

I went along to see the 2015 graduating class’s final musical on Monday night with a mix of curiosity and some trepidation. I was intrigued to see how certain elements, particularly the telekinesis, would be staged as well as the infamous climax. Then there was the knowledge that in its original incarnation Carrie the Musical was a notorious flop. It seemed such an odd choice to close out the year for this group of very talented musical theatre performers.

The results were mixed. The talent on display was in no doubt. This graduating class has swept all before it and has been outstanding in their two previous outings in 2015. The writing and construction of the musical itself, well, that’s a different story. I reminded myself of Stephen King’s tale by watching the remake of Brian De Palma’s classic horror movie starring Chloe Moretz as the bullied teenager with telekinetic powers and Julianne Moore as her fanatically religious mother. It’s quite a slow burn narrative that relentlessly builds towards the bloody finale as Carrie wreaks retribution on those who have humiliated her at the school prom.

It’s here where the musical form and the horror genre seem at odds. Carrie White and her mother are, in many ways, quite impenetrable characters; the former so withdrawn and repressed she doesn’t even know her own body; the latter, gripped by irrational fears and the horror of everyday life. The musical though attempts to do what musicals do so well – give their characters an emotional life and expose their internal monologues through song. In Carrie’s first number she sings about her hopes and dreams; mother and daughter share an early duet where Margaret White expresses her love for her daughter; other characters reveal motivations and fears and feelings in song.

This totally undercuts any tension as, while not sympathetic, they come across as, well, at least understandable. A mother, as misguided as she is, wanting to protect her child; a loner considered a freak who only wants to fit in and be loved. It’s all too explicit whereas in film it’s all in the eyes and facial expressions as we watch the reactions to the unfolding calamity. Here it felt like the typical ugly duckling turning into a beautiful swan story… with a bit of mayhem tacked on at the end.

Of course, the other element a stage musical cannot replicate is the special effects. Carrie’s growing understanding of her powers and the display of that ability is somewhat perfunctory. The songs themselves are not overly memorable and the score feels like it wants to be a rock musical but doesn’t really commit to that goal. But enough of the failings of the Book, Music and Lyrics, let’s talk about the performance itself.

What strikes you above all is the outstanding vocal ability of this class. Heather Manley has a superb voice and is a warm presence as Carrie. That in itself is problematic as she flashes a stunning smile and sings about all the things a normal teenage girl longs for – acceptance, a handsome beau, a special evening at the biggest social event of the year, love. No amount of dowdy costuming can hide that eminently watchable quality so her transformation into the belle of the ball is hardly unexpected. It’s difficult to find the freak here as her featured songs are too revealing and too well sung. There are flashes of steel as the character confronts her mother and occasionally her tormentors before Carrie White’s horrific vengeance is unleashed. Manley makes for a memorable sight after being doused by a bucket of (fake) pig’s blood which was perfectly executed on the night. 

Matilda Moran has perhaps the most difficult role as the devoutly religious mother who has sheltered her daughter so completely that it would make Wendla Bergmann blush. The attempt in Margaret White’s early songs to make her ‘relatable’ works totally against the nominally scary aspects that come later. Moran also has to deal with some overly convoluted lyrics but shows a fine voice when given the chance with more ballad style numbers that aren’t trying to cram a whole lot of exposition into the lyrics. 

Tayla Jarrett plays popular girl Sue Snell who has a change of heart after initially mocking Carrie to be an ally of sorts though Sue’s decisions ultimately lead to the disaster that happens. Jarret also has faux narrator duties as she is ‘interrogated’ periodically in a device designed to get us into the story proper. As the sole survivor she gives a little bit of snark to her unseen questioner and also stands up to Jess Phillippi’s bitchy Chris whose belligerence is another catalyst for the climax.

Phillippi is all attitude and strut as she plots her own vengeance but sadly the character largely vanishes in the second act which robs the show of much needed energy and narrative propulsion. The character’s boyfriend, Billy, played with malevolent charm by Daniel Ridolfi is also unfortunately sidelined for large stretches.

By comparison Sue’s boyfriend Tommy, played by Morgan Palmer, is genuinely charming as he draws Carrie out of herself. Palmer has a showcase moment in what was shaping as quite a corny scene until Tommy’s attempt at poetry bursts into song with a sweet clarity that was as unexpected as it was welcome. Rosabelle Elliott gives the gym teacher Miss Gardner a mix of sternness and concern while Harry Prouse added some goofy humour as the Principal and Reverend Bliss. 

The ensemble, as I’ve come to expect with WAAPA shows, was great and all had small moments to shine but really don’t have that much to do here. Some of the choreography also felt (intentionally?) cheesy at times especially coming from a group that crushed Urinetown and Legally Blonde with such ferocity. As always, the orchestra under David King played well and the staging and lighting was well handled.

It’s an odd show and it often felt as if I was watching a weirdly perverted version of the religious elements of Children of Eden mashed together with the school style hijinks of Legally Blonde. If only the biting satire of Urinetown was part of that concoction. While it doesn’t work as a coherent production it does give us yet another glimpse of the enormous talent in the 2015 class. Speed on Showcase!

Music by Michael Gore, Lyrics by Dean Pitchford, Book by Lawrence D. Cohen based on the Stephen King novel, Carrie The Musical is directed by Crispin Taylor with Musical Director David King and stars WAAPA’s third year musical theatre students. It is on at the Geoff Gibbs Theatre until 29 August.

Les Miserables - Crown Theatre, Perth (10 January 2015)

The iconic musical officially opened in Perth last Wednesday and the reviews have been nothing short of spectacular. I had seen the show last year during its Melbourne run but couldn’t resist experiencing it again. Firstly, the music and songs are wonderful and I’ve had the Original Broadway Cast Recording on high rotation since that Melbourne trip; and secondly, I noticed a person who teaches at WAAPA exhort his students ‘past and present’ to see the Perth production calling it exceptional. Of course, there is a strong local connection with almost half the cast having trained at the prestigious Western Australian Academy of Performing Arts. There was something to be said therefore about seeing this incarnation in WAAPA’s own backyard. Besides, I was really impressed with the Melbourne production at Her Majesty’s Theatre.

I admit I haven’t been to what is now known as Crown Perth (it was still Burswood Casino last time I was there!) for quite some time. The previous event I had seen at the theatre was a Pink Floyd cover band re-enacting The Wall (I unsuccessfully tried to tunnel my way to sonic freedom). Putting aside such traumas, the Les Miserables behemoth has transferred nicely into its new digs. Initially though the vocals didn’t sound quite as rich to me, no doubt due to the different acoustics in the new venue. That settled down pretty quickly so maybe it was just me ‘getting my ear in’. The orchestra, however, as was the case in Melbourne, was terrific from the very first stirring notes. It is such a potent score and so much of the power and emotion comes from the music. Very well played and conducted.

There is much to like about this latest interpretation of Les Miserables, the storyline of which most people will have a passing familiarity with and doesn’t bear repeating here. I will list my personal highlights in no particular order, most being confirmation of my initial thoughts from last year.

Simon Gleeson is superb as Jean Valjean and for me the highlight remains his rendition of Bring Him Home which I don’t mind confessing had me a little teary-eyed this time around. The ageing process both in makeup and performance is also very impressive.

What struck me even more so today is how Hayden Tee’s Javert goes toe to toe with Valjean and is truly a formidable adversary. Having that balance right is critical for the main narrative through line in what ultimately is a very episodic story. Tee doesn’t take a backward step and is compelling as the dogged Inspector.

Kerrie Anne Greenland is a revelation as Eponine. In what will become a storied ascent, this is Greenland’s ‘professional musical theatre debut’ straight out of WAAPA. And what a debut it is. On My Own and A Little Fall of Rain are standouts as is her acting where we feel every inch of the wrenching dagger of unrequited love.

Lara Mulcahy and Trevor Ashley threaten to steal proceedings as the Thenardier’s every time they’re on stage with a wonderful sense of comic flair and chemistry. The bawdy Master of the House is followed by The Bargain in a sequence that allows the audience to laugh and ‘breathe’ after the trials and tribulations of Valjean and Fantine up to that point. Essential and bloody well executed.

Patrice Tipoki plays a character, Fantine, who falls so far so quickly that it’s a volatile arc condensed into a very short period of stage time. It therefore requires maximum emotional impact with I Dreamed A Dream the early crowd pleaser but Lovely Ladies is also a harrowing sequence under all the false bravado. Tipoki does this well and I especially liked her angelic turn at the end as Valjean finally finds peace.

Speaking of Lovely Ladies, the ensemble is so good throughout – adding vocal punch, colour and movement in other numbers such as At The End of The Day, Master of the House, The People’s Song, One Day More and Drink With Me.

Euan Doidge and Emily Langridge make for an engaging couple whose sweetness and naivety acts as another necessary counterpoint to the more bleak aspects of the story (and there’s a few!). Empty Chairs at Empty Tables is well handled by Doidge as is A Heart Full of Love with Greenland joining Doidge and Langridge as the romantic entanglements of the story come to full light.

The fine performances and musicianship is matched by inventive staging – from the sets that unfold to fill the space, to the use of projections (most notably the sewers under Paris and for Javert’s death), and the lighting and other effects that enhance the doomed fate of those on the barricades.

For rousing songs and sheer theatrical spectacle Les Miserables is hard to beat and this production has quality in every department. Having seen quite a few shows at WAAPA last year it is also exciting to see the path that many of those talented performers who have now graduated might follow given the number of alumni here. This is Australian musical theatre at its pinnacle so get along to see it if you can.

The Brain From Planet X - Dark Psychic Productions (21 September 2014)

Newsflash!

A group of marauding performers have invaded Perth and set up camp at the Phoenix Theatre in Hamilton Hill. They are armed with an impressive lighting array, colourful costumes, tap shoes and a storyline straight out of 1950s B grade science fiction films. But that’s okay because the brains of the operation Ryan McNally says it’s all a spoof and good old fashioned fun. Audience members are advised to abandon all caution and rush to check out the final week of shows. Be warned though, the weak among you may not be able to resist the devilish alien brain tap, or their leader’s seductive hand gestures, or even a skin tight jumpsuit that would make Olivia Newton-John at the end of Grease blush!

Yes, there are aliens among us. Well, if we were in the San Fernando Valley back in 1958 that is. They have evolved to an advanced state where human trifles such as love, emotion, and the family unit are not only redundant but signs of weakness. Their leader, a walking, talking brain (Cody Fullbrook) and his two alien henchmen, the bickering Zubrick (Glenn Wallis) and Yoni (Kate Lloyd) set out to dominate the Earth by destroying such traits in humans. They will achieve this by use of the mind bender which, um, bends minds. This ingenious plot is known as Plan 10 (from Outer Space) as aliens are clearly the only creatures in the universe to appreciate the talents of Ed Wood.

The target of their dastardly plot is the Bunson family, headed up by inventor-dad Fred (Gary Devries), his wife Joyce (Sylvia Mellor) and wilful teenage daughter Donna (Mikaela Innes) who is enamoured of wannabe beatnik poet Rod (Krispin Maesalu). Fred’s father-in-law Professor Leder urges the career minded General Mills (Mario Piccoli) to show caution as there might be many things we could learn from our extra-terrestrial guests. But the one star General, assisted by Private Parts (Jordan Norrish), only has one thing on his mind – to add more stars to his chest… oh, and save the world.

It’s a pretty thin plot but that’s part of the gag. All the bad science fiction tropes are in there with mind control, evil aliens, an incompetent military, an obligatory twist (that was obvious to anyone with even a passing familiarity to such tales), the salt-of-the-earth family under threat, and futuristic technology like the kooky force field that protects the alien spacecraft. A Narrator (Shaun Griffin) sets the scene which in and of itself is a parody of the sort of exposition usually doled out in movie voiceover. The fourth wall is constantly broken and there is even audience participation! Alas, The Brain deemed me “too old” to undergo the brain tap which was unfortunate as man, that Yoni may be an alien hell-bent on world domination but she was incandescent.

Oddly for a musical the singing was uneven with greater emphasis seemingly given to the comic performances. In the singing stakes, however, Mellor (recently seen in Xanadu as a pit singer) as Joyce and young Innes as Donna were the standouts. Devries was corny fun as the Dad and largely carries the first act but mostly disappears in the second due to the inevitable demands of plot machinations. Fullbrook is a playful Brain and his hand gestures are truly mesmerising (the man must have wrists of steel!). That’s without even mentioning the wonderful prosthetic brain he sports. The costuming and makeup throughout is colourful and inventive.

Wallis plays the obsequious Zubrick with amusing snark and has a late second act transformation that had echoes of Sir Lancelot from Spamalot. Lloyd is mischievous and sassy as all get out as the man hungry alien Yoni and looks fabulous in a selection of figure hugging outfits. These aliens are all tall and far too damn attractive!

There is a supporting ensemble of some 20 performers so it’s a big cast for a community theatre show. The lighting was especially impressive though there were times in the second act that shining it into the eyes of the audience at key moments was a little overused. The four piece band at the front of the stage (right) were well led by Josh Haines and didn’t overpower the singers who were a tad low on volume to begin with for my tastes.

Highlights included Innes’ Good Girl/Bad Girl; Joyce’s refusal to be the subservient wife after her mind had been bent (Things Are Going To Change Around Here); The Brain Tap where audience member Ryan revealed, admittedly against his will, the stupidity of the human race; a very sexy I Need An Earthman by Lloyd; and Wallis’ complementary, surprise revelation, All About Men. The Brain’s Song was also a hoot with Fullbrook a most endearing villain. The tap dance in the second act with Fullbrook, Lloyd, Wallis and 6 members of the ensemble was excellent.

Directed by Ryan McNally with Musical Direction by Krispin Maesalu and Choreography by Jayde Clark, The Brain From Planet X was a real lark. The cast were all having fun as was the audience with no better example than when an enthusiastic person in the front row ‘stole’ a line from a mid-pause Fullbrook. He played along to create one of those wonderfully spontaneous moments in the theatre you couldn’t recreate if you tried. 

If you’re wondering whether to go see this then the time is nigh (yes, nigh!) – there are only three more performances left, 8pm 25-27 September at the Phoenix Theatre in Hamilton Hill.

Merrily We Roll Along - WAAPA (25 August 2014)

What a year - Hair, West Side Story and now Stephen Sondheim’s Merrily We Roll Along. From the 300 seat Geoff Gibbs Theatre to the 1100 seater at the Regal to the intimate confines of the Roundhouse (fast becoming my favourite theatre venue) WAAPA’s third year musical theatre students have been outstanding. In the words of Sondheim himself, “Here’s to us. Who’s like us? Damn few.”

Indeed, the story of three talented friends who rise from humble beginnings to achieve their artistic dreams on Broadway, in publishing, and beyond is an apt one. This graduating class is in the early phase of realising their own dreams and the talent on display bodes well for the future. But Merrily We Roll Along posts warning signs along the way about how ambition and expediency can erode artistic integrity and, perhaps more importantly, alienate those who matter most - the friends, loved ones and collaborators who helped make the journey possible.

The dramatic conceit here is that the story is told in reverse chronological order. We see these characters at their worst at the beginning of the musical before exploring how they arrived at such an emotionally barren place. When the show first opened on Broadway in 1981 it was a flop. It’s almost hard to believe as the score is excellent, the lyrics witty and perceptive, and there’s surely a resonance for anyone who has harboured an artistic dream of some sort. The structure is complex but not prohibitively so as we move backwards from 1976 to eventually land in 1957 (a year I should have realised the significance of) where the final scene is beautifully constructed and thematically perfect. It signals a time where anything was possible, where ideas could change the world, where artists could make the papers and musicals were popular and could raise important themes. A time when three people meet who will become friends, collaborators, and take the world by storm... but at what cost?

This is why the reverse timeline works – there is such idealism and hope in the final sequences of the production that we largely forgive where these characters ended up. That they fail in life by becoming so successful in their chosen professions is also down to the sort of human frailties we can easily identify with.

The three friends, Composer (and subsequent Hollywood producer) Franklin Shepard, lyricist Charley Kringas, and writer/critic Mary Flynn are played by Jack Van Staveren, Ben Adams, and Rebecca Hetherington respectively. Van Staveren is excellent as the one who craves success and fame as he chases first Broadway then Hollywood. Along the way he loses his wife Beth (Sophie Cheeseman) and ends up marrying Broadway star Gussie Carnegie (Chloe Wilson) who was enamoured of his musical talent. I have to admit it’s such a likeable performance that I never really felt he was the ‘villain’ in the early going. Adams is the perfect foil and has a highlight moment during Franklin Shepard, Inc. as Charley expresses his disappointment and anger at how Franklin has sold out for the money thus ending their friendship. The two are convincing as friends and long-time collaborative partners which makes their falling out (retrospectively) more potent.

But the standout for me is Hetherington who gets to play the faithful friend in love with Franklin and who wears her heart on her sleeve even trashing the opening sequence party in his honour with some harsh home truths. Not only is her acting impressive but vocally she shines, particularly during Not A Day Goes By (Reprise) as Mary comes to terms with the fact she will never be with Franklin as he marries Beth.

Of the supporting cast, Chloe Wilson plays the diva Gussie with great confidence and sass. There was a moment in the opening sequence where she slipped (on strewn lettuce) and fell hard to the audible gasps of the audience but didn’t miss a beat as she picked herself up, blood nose and all, and confronted the newest object of her husband’s affections, Meg (Miranda Macpherson). If anything, it added to the drama of the moment.

Sophie Cheeseman plays Beth with a southern accent and trusting innocence that is charming but always destined for tears and she is great with the young child performer Sebastian Coe who plays Frank Junior. Nick Eynaud comes into his own as Gussie’s husband Joe Josephson the further we go back in time. He has an amusing moment telling Franklin and Charley they need to write more hummable tunes, the reason Sondheim wrote Merrily in the first place in response to critics of his work. The rest of the cast is, as is to be expected, strong vocally and look terrific in an assortment of costumes appropriate to the different time periods.

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

Directed by Jason Langley, Musical Director David King, Music and Lyrics by Stephen Sondheim with a Book by George Furth, Merrily We Roll Along stars WAAPA's third year musical theatre students and has six more shows until 30 August at The Roundhouse Theatre. 

Three Musicals and a Blockbuster (21-23 August 2014)

There was a memorable photo a few weeks ago. The combined casts (in costume) and crews of the four big musicals playing in Melbourne at the time – Wicked, Les Miserables, The King and I, and The Rocky Horror Show – had gathered on the steps of State Parliament House to celebrate what was being coined the East End theatre district. It sowed the seed of an idea, one that came to fruition over the last few days.

I organised time off work, booked flights and a hotel in the heart of the city, and purchased tickets to three of those musicals, Rocky Horror having finished its run.  I decided if I was going to do this that I would get good tickets. I didn’t want to travel to the other side of the country to sit forty rows back. That proved a little expensive but so be it. The other key component of the trip was to see a football game at the famed MCG, a venue I had never been to. Fortuitously, a blockbuster was on the cards, Geelong versus Hawthorn. It was to be a lightning trip – three shows and a football game in three days.

First up was Wicked, a show that was all kinds of spectacular. The production was just around the corner in the lovely Regent Theatre in Collins Street. I had a third row seat that was deliciously close to the action, only spoiled somewhat by the six foot tall dude who sat in front of me [insert expletive deleted here]. This really was an impressive show. Lucy Durack was excellent as the comic foil, playing Glinda, and gave a really perky performance with a healthy dose of physical comedy. But it was Jemma Rix as Elphaba who was truly outstanding. Steve Danielson was an immensely likeable Fiyero, Anne Wood had a little Hunger Games going on as Madame Morrible, and Emily Cascarino quietly shone as Nessarose. The rest of the supporting cast, including the venerable Reg Livermore as The Wizard, were terrific.

The set was elaborately constructed and moved like clockwork, no surprise given that clock faces and gears were a recurring motif. The lighting was superb and this was a glorious production to look at. The Wizard’s “giant head” prop was something to be seen (and heard) but curiously the mechanical dragon that loomed above it all was used only in the Overture never to be revisited. The costuming was colourful and inventive, particularly the flying monkeys and the whole thing was slickly produced, sounded great, and was firing on all cylinders. I particularly liked how clever the writing was, incorporating familiar elements from The Wizard of Oz but shining them through the prism of a classic storytelling ‘what if?’ What if Glinda the Good and The Wicked Witch of the West had once been friends? Memo to George Lucas – THIS is how you do a prequel about a person’s descent to the dark side! 

Wicked has maybe the best end to an Act One ever, certainly that I’ve seen. The staging, lighting, singing and special effects work on Defying Gravity was outstanding and left the audience gasping in appreciation as they broke for Intermission. What a way to kick off my musicals junket!

Speaking of Act One closes, the next production has a pretty decent one as well! Yes, One Day More sung by the massed company from Les Miserables with the orchestra in top form is stirring and memorable. This was a monumental almost three hour show that featured 16 WAAPA graduates including Simon Gleeson as Jean Valjean who gave a fine performance in such a demanding role. His Bring Him Home was a highlight but there were so many here. The orchestra was superb (Musical Director & Conductor, Geoffrey Castles) and the iconic score sounded wonderful in Her Majesty’s Theatre. The stage somehow didn’t seem as big as the Regent’s so this felt quite intimate even seven rows back. And yes, for the second night in a row a tall dude sat right in front of me [insert more expletives deleted]. 

The set was quite simple for the first third featuring mainly backdrops until the wings unfolded when we get to Paris and all sorts of trickery comes into play that was really quite impressive. There was extensive use of smoke and dry ice throughout to diffuse the light but also a lot of shadow and silhouette with characters entering from and receding into darkness that was visually compelling in key dramatic moments. Unfortunately, a side effect of so much smoke was the amount of coughing from the audience that was vaguely preposterous and increasingly annoying in the quieter moments. The use of projections was inventive with a particularly memorable sequence recreating the sewers under Paris. I’m still trying to work out how they did Javert’s death which was utterly filmic in its execution.  

Hayden Tee was a worthy adversary as Javert with Kerrie Anne Greenland excellent as Eponine. Emily Langridge and Euan Dodge worked well together as Cosette and Marius while Lara Mulcahy and Trevor Ashley gave an hilarious comic performance as the Thenardier’s with Master of the House a highlight. The Ensemble was also terrific and this is a show where they get their own moments to shine such as Lovely Ladies and, of course, the work on the Barricades which was nicely designed and executed (pardon the pun). Patrice Tipoki gave a heart-wrenching performance as Fantine with, as ever, I Dreamed A Dream an early highlight. 

Special mentions to the young boy who played Gravoche who was amusingly cocky; and the young girl who gave a lovely rendition of Castle on a Cloud. All in all a rousing production that sounded superb vocally and musically.

The final production of the trip was the newly minted Helpmann Award winning Best Musical for 2014, The King and I. What immediately strikes you is this – Lisa McCune is a star. She gives a commanding performance (pun fully intended) and, I must say, looked stunning in an assortment of costumes befitting the period. McCune sings beautifully, shows a deft touch with the younger cast members, and had good chemistry with Lou Diamond Phillips especially in the more comic sequences. Phillips, while perhaps not that strong a vocalist, gives a charismatic performance and is clearly enjoying himself in the role of the King of Siam. He delighted the audience at final bows, hamming it up a little as the curtains closed. 

The costumes are sumptuous and there is an array of gorgeous drapes that provide backdrops throughout. The set itself is very simple especially when compared to the intricacies involved with Wicked and Les Miserables. I also found it a quite static production which is perhaps as much to do with its construction (it is, after all, 63 years old) rather than the staging – long dialogue passages with many of the set piece songs essentially a featured performer or duets only. It’s not until The Small House of Uncle Thomas in the Second Act that there’s real movement and, of course, Shall We Dance? that soon follows. 

The child cast are charming and each has a featured moment during the introduction to the King’s children. Adrian Li Donni (as Lun Tha) and Vivien Emsworth (who played Tuptim for this performance) had a couple of lovely duets as the illicit lovers in We Kiss In A Shadow and I Have Dreamed while Marty Rhone was suitable stern and officious as The Kralahome. The orchestra was strong and there are well-known tunes and standards here that were done very well with McCune at the forefront (I Whistle A Happy Tune, Getting To Know You, and Shall We Dance?). It was certainly interesting to compare the distinct stylistic differences with its more modern brethren and it’s perhaps appropriate that the show was staged in that grand old dame of a theatre, The Princess.

To round out the trip I changed gears and went to the jewel of the Australian sporting landscape where theatre of a very different kind is played. That place is the MCG and what a stadium it is! It truly is world class and even from the fourth level in the Olympic Stand the view was tremendous. It was a big game too – over 72,000 to see Hawthorn play Geelong in a blockbuster towards the end of the AFL home and away season. Only about 30,000 more people than I’ve ever seen at a football game before! I was sitting in a predominantly Geelong section though my friend is a mad Hawks supporter who found her voice in the second half after Hawthorn stormed back from a 5 goal deficit at half-time to win convincingly.

What did surprise me though was that the atmosphere wasn’t quite as electric as I’d hoped – maybe it’s because I was a neutral observer (my team was playing back in Perth) or the fact that the game itself was actually a little lacklustre. But as a sporting venue it is quite exceptional. I also liked the fact that we walked back into the city with a mass of people and it was all so good-natured on a lovely Saturday evening. In fact, I was lucky with the weather throughout this trip.

Finally, I was fortunate enough to talk with WAAPA graduate Ben Hall (ensemble, Marius understudy) after Les Miserables, and Tim Cunniffe (assistant Musical Director and keyboards) after The King and I who were both generous with their time providing interesting insights into their respective shows. It was inspiring to see so many WAAPA graduates in all three musicals, with headliners coming from the acclaimed academy – Lucy Durack (Wicked), Simon Gleeson (Les Miserables), and Lisa McCune (The King and I). 

As I prepare to watch the next round of WAAPA acting and musical theatre productions in the coming week it is a timely reminder of the sheer amount of talent being trained right in our own backyard to be the next generation of Australian theatre stars.

It proved to be a wonderful trip and an inspired decision to go.   

Xanadu - Koorliny Arts Centre (16 August 2014)

Before we start, I have a confession to make. It’s 1981. The album Physical by Olivia Newton-John has just been released. I vaguely know who she is from Dad’s collection of old vinyl albums. The fresh-faced country singer of Me and Bobby McGee fame. This, however, is not my father’s Olivia. Blush. Yes, I had a crush on ONJ! (Settle down, I was only 15. Imagine my delight when I later discover Grease). I mention this because Saturday’s matinee has these long forgotten, adolescent memories, ahem, flooding back.

Now, to describe the plot of Xanadu as naff would be an understatement of mythical proportions. Based on the 1980 movie starring Olivia Newton-John, Gene Kelly, and Michael Beck, a demi-god comes down to Earth to inspire a chalk artist to open a roller disco. Two of her sisters, put out that they were overlooked for top Muse duties, curse her to fall in love with this mortal which, as all good classical scholars know, is against almighty Zeus’ rules. Okay then.

None of this matters. One. Little. Bit.

Xanadu the Musical knows exactly what it is and embraces the kitsch and cheesiness with such a good-natured sense of fun and cheekiness that you can’t help but be charmed. It also features songs from the aforementioned Olivia Newton-John as well as ELO. Songs I know by heart. Songs I was tempted to sing along to. There are also original numbers written for the musical. Plus this, performers on rollerskates!

The first thing that strikes me is that the band is located on an elevated platform tucked into a corner, stage left. In front of them are the three ‘pit singers’ (Paul Taylor-Byrne, Sylvia Mellor and Vikki Walker)… or ‘anti-pit singers’ as the director referred to them afterwards. They not only lend some vocal oomph but are part of the choreography and, at times, amusingly seem to be ‘judging’ events on stage below them. The band, led by Musical Director Kate McIntosh (also on keyboards) and Taui Pinker (keyboards), Vlad Sturdy (guitar) and Nikki Gray (drums) are in cracking form and have fun with that unmistakeable early 80s sound prevalent here.

Drue Goodwin plays Sonny, the artist with big dreams, who falls in love with his Muse and even travels to Mount Olympus to rescue her from Zeus’ wrath. As all good mortals do. It’s an exuberant performance and Goodwin is great playing the character with a nice mix of cockiness and naivety. He also sports (to my ears) a convincing American accent… and an outfit that could only have been worn in the 80’s! Vocally he is stronger in the more rock oriented numbers though has nice moments in Don’t Walk Away and Suspended in Time.

Kimberley Harris shines as Clio aka Kira who descends from Mount Olympus (once again as we discover) to inspire the artistic ambitions of a mortal.  She gets to show off a thick Aussie accent in her human disguise as Kira but also, briefly, an American one in the flashback with Danny. Impressively she is on rollerskates for the majority of the show - a skill I later learnt took her 4 months to master. Of course, she has the unenviable task of following ONJ in singing well known numbers such as Magic, Xanadu and the duet Suddenly. She does these well but it’s original numbers such as Suspended in Time where she wings her way to face Zeus on Pegasus (a great prop) where Harris really comes into her own.

The supporting cast are terrific, especially Rachel Monamy (Melpomene) and Elethea Sartorelli (Calliope) as the jealous muses who get up to all kinds of mischief. Their work in the ELO classics Evil Woman and Strange Magic is hilarious and they threaten to steal the show with cackling good performances. Ryan Taaffe (also the director) plays Danny, the older version of Sonny, who was visited by Clio decades before. He gives a nicely gruff performance before doubling as Zeus himself whose judgement will be swayed by a loopy argument put by one of Zeus’ wives.

The ensemble comprises Hillary Readings (also the choreographer), Brooke Pimlott, Allen Blachford, and Jamie Harrold. The dance numbers are good fun and the ensemble add so much colour and movement with great vocal support and humour. The finale with the majority of the cast on rollerskates singing Xanadu is a suitably over-the-top spectacle. A featured Blachford gets his Gene Kelly on with a lovely tap routine during Whenever You’re Away From Me which is a highlight with Harris looking the glamorous 40s starlet in Danny’s flashback.

Above all, this is funny and utterly entertaining. I was having a great time with the show. So much so that apparently my nickname backstage was Chuckles! There is a lot of talk throughout about artistic inspiration with several in-jokes that tickled my fancy. There’s also a killer pot shot at Andrew Lloyd Webber and who doesn’t like those? Naff said.

Directed by Ryan Taaffe with Musical Direction by Kate McIntosh, Book by Douglas Carter with Music and Lyrics by Jeff Lynne and John Farrar, Xanadu stars Drue Goodwin, Kimberley Harris, Rachel Monamy, Elethea Sartorelli, Ryan Taaffe, Hillary Readings, Brooke Pimlott, Allen Blachford and Jamie Harrold with band and pit singers Kate McIntosh, Taui Pinker, Vlad Sturdy, Nikki Gray, Paul Taylor-Byrne, Sylvia Mellor and Vikki Walker. There are three shows left at the Koorliny Arts Centre in Kwinana, 22-23 August at 8pm with a 2pm matinee on the 23rd. 

Get your rollerskates on and go see it!

The Great American Trailer Park Musical - Roleystone Theatre (2 August 2014)

There are times when a production takes you completely by surprise. I’m not exactly sure what I was expecting with a show billed as ‘Desperate Housewives meets Jerry Springer’ but what I ended up seeing was raucously funny, well performed, and a riotous show that had an enthusiastic audience a-hollerin’ and a-whoopin’ on a chilly winter’s night.

What impressed me most is that beneath the raunchy and crass exterior that poked fun at the ‘white trailer park trash’ stereotype there was an underlying sweetness and genuine affection for these characters. These people may be flawed and make bad decisions but ultimately they are more than just stereotypes as they deal with the circumstances they find themselves in. Sure, there’s plenty of craziness along the way, narrated in hilarious fashion by the trio of Betty (Cicely Binford), Linoleum (Cassie Skinner) and Pickles (Therese Cruise) but it’s the central relationship between Jeannie (Joanna Tyler) and Norbert (Mitch Lawrence) that is the heartbeat of the show. They live in Armadillo Acres, a trailer park in Florida. The metaphor of the entrenched mobile home is an apt one – they could move on if only they chose to but habit more than anything keeps them locked in place.

Their marriage, already strained due to a past tragedy that leaves an agoraphobic Jeannie confined to their trailer, is tested further with the arrival of a stripper on the run, Pippi (Caroline Perks). Norbert, frustrated by Jeannie’s inability to step outside her self-imposed comfort zone, finds his own comfort in the arms of Pippi causing havoc in the close-knit community. To complicate matters further, Pippi’s crazed, texter sniffing boyfriend, Duke (Tom Hutton) is on his way from Oklahoma City looking for her. The second act gets a little messy as the plot machinations play out but I was well and truly on board after a stellar first act.

There was a pre-show warm up – audience participation was encouraged – and I must say we were in fine voice. As were the performers – the singing was of a high quality throughout with Cicely Binford, Joanna Tyler and Therese Cruise particularly impressive. Binford, Skinner and Cruise are a riot as the trailer park denizens who set the scene and comment on events with more costume changes than a Cher concert. The cast also sport a spectacular collection of wigs which is a sight to behold especially during the Finale. Norbert, who ostensibly is a schmuck for cheating on his wife, is played with such earnest, aw shucks charm (“ham sammidges!”) by Mitch Lawrence it’s hard not to identify with his dilemma and human frailty.

Joanna Tyler gives the key performance though as she grounds the whole thing playing a woman crippled by fear and doubt who is stuck in one place like the trailer she lives in. Crucially though she wants to be better which makes Norbert’s betrayal all the more devastating… yet is also a catalyst for her eventual ‘mobility’. Caroline Perks is a striking presence as Pippi, playing the stripper as both confident of who and what she is but also resigned to her fate as a storm of judgement besets the character. Then there’s Tom Hutton who threatens to steal the show as the unhinged boyfriend, all redneck machismo and stupidity.

The songs are terrific with clever lyrics that are pointed and funny. The band was a little muted playing behind the middle trailer of the set which is unfortunate as they appeared in rocking good form.

Highlights included a spot on roasting of the Jerry Springer style show in The Great American TV Show with cat fights and all; a beautiful rendition of Owner of My Heart, a sweet number between Lawrence, Perks and Tyler that betrays the affection beneath the boisterous mockery; the closing number of the first act, Storm’s A-Brewin’ with Binford nearly bringing the house down; the deliciously black Road Kill as Duke speeds towards the trailer park taking out everything in his wake; and I was quite taken by Tyler’s Panic as a song that reinforces her character’s predicament. The show ended to well earned, thunderous applause and I thoroughly enjoyed this rollickingly entertaining production.

Directed by Lorna Mackie, Musical Direction by Krispin Maesalu, with Music and Lyrics by David Nehls and a Book by Betsy Kelso, The Great American Trailer Park Musical, starring Cicely Binford, Cassie Skinner, Therese Cruise, Joanna Tyler, Mitch Lawrence, Tom Hutton and Caroline Perks has only two more shows, on 8pm, 8th and 9th August at the Roleystone Theatre. Plan a rendezvous ("that's French for..." you know what, I'll let you discover the answer to that...) out at Roleystone – it’s more than worth it. Just watch out for any bunny rabbits on the way!