Next to Normal - Black Swan State Theatre Company (10 November 2015)

2015 is proving to be quite the stellar year for musical theatre in Perth. One of the reasons is productions that tackle subject matters and themes you wouldn't immediately associate with the genre - shows such as Urinetown (pungent dystopian satire), Spring Awakening (repressed teenage sexuality), Assassins (killing US presidents!) - and now a rock musical about bipolar disorder and its effects on a family. I attended the third and final preview.

Next to Normal stands out for the fact that its subject matter is challenging and under-serviced, certainly in musical theatre form. It demands that the acting from the performers is as good, if not better, than the singing requirements. The cast here deliver in spades with a potent mix of excellent songs, a great score, and a fully formed narrative arc for its central character that is as harrowing as it is gut wrenching. It is clear why this is one of only a few musicals to have won a Pulitzer Prize for Drama.

Horwood, Alyce, Beck & Cormick
Gary Marsh Photography

That lead character is Diana Goodman; wife, mother, and a woman struggling to cope with bipolar disorder. Rachael Beck is superb as Diana bringing impressive acting chops and a wonderfully clear and expressive singing voice to the table. It's a role that necessitates incredible highs and devastating lows and Beck embraces that range with skill, nuance, and incredible stage presence. You simply can't take your eyes off her - she is at the centre of everything - and Beck elicits such a strong emotional response from the audience. The songs deepen our understanding of that emotional landscape and are delivered in style, whether plaintive and heartbreaking; playfully raunchy; or full on angst. There is also humour and hope to be found here and it's well calibrated in that regard.

Medical treatment for bipolar comes under the microscope as the suburban housewife is forced to suffer varying forms of medication and procedures that take away her fundamental essence; her sense of who she is, good and bad. It also fails to address the possible underlying cause of her mental state as some memories cannot be erased by modern medicine no matter how invasive and powerful. You can only feel but empathy for the character as the writing and Beck's performance is first rate.

Diana's condition impacts those closest to her - husband Dan (Brendan Hanson), daughter Natalie (Shannen Alyce), and son Gabe (James Bell). Natalie has a new boyfriend, the stoner Henry (Joel Horwood), while Diana is being treated by Drs. Madden and Fine (both played by Michael Cormick). A total cast of only six and what a cast it is. Acting and vocal talent across the board is exceptional with everyone given their moment to shine.

Hanson has perhaps the most difficult role - Dan is described by Diana as stolid, steadfast, solid and stoic. In the early going his was the one character in danger of verging into caricature. But as the show progressed and Dan is forced to make increasingly difficult decisions regarding his wife that smoothed itself out until Hanson delivers a devastating punctuation point (I Am the One - Reprise) in the aftermath of Diana's final choice.

Shannen Alyce & Joel Horwood
Gary Marsh Photography

One of the highlights was seeing 2014 WAAPA graduates Alyce and Horwood in their first Black Swan production. They worked so well together (Perfect For You, Hey #1-3) and sang beautifully. Horwood gave Henry a sweet naivety and charm while showcasing an excellent voice. Alyce played the studious daughter who rebels in the face of the family issues aided by Henry's more carefree influence with a believable forthrightness that was compelling. There is a moment when she is onstage with Beck performing Everything where you see the consummate present and the bright future side by side that had me grinning in appreciation.

Cormick is memorable as especially Dr. Madden when Diana's fantasies are occasionally brought to life with a shot of rock 'n' roll style voltage. He has a powerful voice and an authoritative stage presence that matches Beck blow for blow as they duel both in acting sequences and numbers such as Didn't I See This Movie? with ECT looming.

The other standout for me though was James Bell as Gabe. It's the relationship between Diana and Gabe that is the heartbeat of this piece and Bell is simply electrifying. Gabe's presence carries so much emotional heft and Bell attacks the role with such energy that his impact is undeniable. Another tremendous vocal talent, his performance and its ramifications are pivotal to making this fly.

There IS an orchestra pit! Gary Marsh Photography

Another aspect, of course, is the music and I was curious to see how this would work in the Heath Ledger Theatre. I now know that there is in fact an orchestra pit and the sound balance and quality was excellent. The six piece band under Musical Director David Young (also on Keyboards) played very well. The show took off in a sequence of songs where it all clicked as a rock musical - I Am the One, Superboy and the Invisible Girl, Open Your Eyes and I'm Alive. It felt like a clear change of gears as the energy level ramped up but more than that I suddenly discovered 'the voice' of the piece. From then on I was all in.

Musical highlights abound but special mention to I Dreamed A Dance and How Could I Ever Forget?, two stunning sequences that fuse lyrics, music, direction and performance for maximum emotional impact. Only one criticism - given the quality of the songs it was disappointing they were not listed in the programme; an all too often and baffling omission for musicals.

Hanson, Bell, Horwood, Beck & Alyce
Gary Marsh Photography

Wisely, given the more intimate nature of the show, Set Designer Bruce McKinven halved the depth of the spacious stage space with curtains forming a 'back wall' for most of the production. There was a central revolve with an outer rim that rotated independently as well which director Adam Mitchell used to great effect. The main piece of set on the central revolve was a large wood-panelled block where the panels opened on each side to depict everything from kitchen sink to toilet to bathroom vanity.

Scene transitions were slick as the revolves ensured the pace never flagged. Lighting design by Trent Suidgeest was evocative and well judged while the sound design by Ben Collins was the best I've heard at this venue; the only minor quibble being that Hanson's microphone volume was noticeably lower in the early scenes but this was soon corrected.

This is an excellent production with everybody at the top of their game, on stage, in the orchestra pit and behind the scenes. Directed by Adam Mitchell with Music by Tom Kitt, Book and Lyrics by Brian Yorkey, Musical Direction by David Young and starring Shannen Alyce, Rachael Beck, James Bell, Michael Cormick, Brendan Hanson and Joel Horwood; with Young on Keyboards, Michael Perkins (Drums/Percussion), Shane Pooley (Bass), Andrew Weir (Guitar), Brian Kruger (Violin) and Laura McGorgan (Cello), Next to Normal is a must see and is on at the State Theatre Centre until 22 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. 

Diva - Creative Collaborations (28 October 2015)

Warning: contains strong language, drug and sexual references.

There’s no denying any of that.

There’s also no denying the fact that this is a searing psychological profile with no less than a full-throated performance by Tiffany Barton. She completely inhabits the character of June, a former New York opera singer now stricken at the thought of leaving her apartment. 

Barton is fearless in exploring all the complexities of this larger than life diva; from the grotesque to the outrageous; the flat out funny to the poignant; often with devastating self-reflection. It’s in your face, immediate and compelling. What a joy to witness an actress not only embrace but trumpet all the jagged little edges, contradictions, hopes and fears of a character so thoroughly. June is, in part, based on a real person so this bleeds with authenticity.

The show literally jumps out at you and at first I was taken aback. There’s a certain shock value as we initially meet June but various story strands slowly emerge in this meticulously crafted monologue. Two great love affairs come to the fore – one with June’s husband Manny; the other with the opera and performance itself. The discovery that one largely destroys the other adds to a sense of pathos. But make no mistake; there is a fierce determination here to enjoy all that life has to offer, with every lump and Tosca inspired orgasm!

Underpinning this is June’s relationship with her father who will abandon the young girl and be absent through key moments of her life. Then there’s the reason why June can’t leave her apartment that is potent in its understated recounting. It will resonate with any artist who aspires to greatness.

All these strands are woven together amidst moments of manic energy as June dresses up, sings along to her beloved opera, laments the effect of age on her looks, consumes pills hidden in a teapot, and happily submits to the attention of ‘Mr Buzzy’, a formidable looking vibrator. Tellingly though, it’s the quieter moments that pack the biggest wallop – Barton and director Helen Doig aren’t afraid to let us observe June who becomes increasingly bizarre in appearance. Those moments of stillness and sense of vulnerability are quite special.

There are two clever devices to allow the character to ‘perform’ and share her memories – one, improbably, is a stuffed cat called Eugene, smothered to death by a drunken June; the other, an ingenious puppet of Manny made of cardboard boxes and rollers. Again, having Barton ‘impersonate’ Manny, become the innocent child who misses her Daddy, or admonish her dead cat allows for changes in rhythm and pace that keep this unpredictable and enthralling.

The simple telephone injects a note of dread as a symbol of the outside world (and the past) that June seemingly craves to reconnect with but is paralysed at the very thought of. Indeed, audio cues are an important component from the strains of opera to amusingly salacious lyrics to prompts to snap June in and out of moments of self-reflection.

This is a well written, well directed and beautifully crafted piece of theatre with a memorable performance that sponsored a most interesting discussion afterwards in the lobby. Highly recommended.

Diva was written by and stars Tiffany Barton and is directed by Helen Doig with puppets, set and costumes created by Cherie Hewson and sound by Max Porotto. Perfectly suited to the intimate black box theatre upstairs at Spare Parts Puppet Theatre in Fremantle, it runs until 1 November as part of the Fremantle Festival.

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.  

13 - WAAPA (12 October 2015)

I think it’s fair to say that this play is hard work for an audience. It is thematically dense and structurally challenging throwing a lot of characters at you early in short, sharp vignettes before it finally settles into more traditional storytelling. It’s also fair to say, however, that there are many fine performances by this second year class.

A whole lot of story strands are thrown in the air during a frenetic start – an English Prime Minister being pressured to join America in a war against Iran; various protestors against student fees; the mysterious John who returns from some sort of self-imposed exile who slowly becomes a rallying cry for dissent; an American diplomatic family in London; a cocky lawyer and his assistant; and so on. All have recurring nightmares about monsters and destruction; all seem to be looking for purpose and possibly salvation.

Interconnections slowly come to the fore culminating in the quasi-Christlike figure of John confronting the English Prime Minister at Number 10 while his followers rally outside. He tries to dissuade her from committing forces to Iran; she upholds traditional conservative values in the name of compromise and complexity.

Overlayed on all this is a clear thematic debate over belief and the existence of God. There is an academic who doesn’t believe in God who is a close friend, perhaps the only friend, of the PM. The precocious 11 year old daughter of the diplomatic family reads voraciously and doesn’t have time for fun because there is evil in the world. Her mother, a god fearing woman is appalled at her daughter’s casual dismissal of God. John is a surrogate Christ figure as he preaches on an upturned bucket in the park. He gathers many followers as his thoughts and words are transmitted over social media, filmed by a woman who has sex with men for money. One of which is the lawyer whose carefree attitude to his job and life comes crashing down around him. And so it goes.

There is almost too much thematic intent to hang on an already convoluted structure. The whole thing occasionally sways precariously, almost ready to topple. It also felt overlong as the confrontation between the PM and John, aided by the academic, felt more debate than drama. However, a clear action change for the PM gives the whole endeavour a second wind and it closes strongly. Though, I have to say, the thematic conclusion is ambivalent as John’s fate is executed with clinical precision tied to a horrendous act his beliefs are claimed to have sponsored.

To the performances and Miranda Aitken is excellent as the Prime Minister (Ruth) especially in the second half where her character assumes greater prominence. Playing a much older character it was the stiff bearing, the stillness, and especially the measured vocal tones that really sold this. While giving Ruth an authoritative air, hints of vulnerability and regret seeped through to telling affect. The weight of Ruth’s final decision was writ large on Aitken’s face in the closing moments. It was also her action change from passive listener to passionate defender of Ruth’s beliefs that gave the play its second wind just when things were flagging.

Will McNeill was compelling in another performance that snuck up on me. Initially playing the lawyer (Mark) with “don’t give a fuck” insouciance, his character slowly unravelled until experiencing a full-blown breakdown that was beautifully played. That it had me empathising with a previously unlikeable character was impressive.

If Aitken had a challenge playing a woman decades older then Kate Betcher had a similar task with 11 year old Ruby. She was suitably precocious and annoying but with the brutal honesty of a child. It was a clever portrayal and she worked well with the mother (Sarah) played by Anna Apps who has her own emotional arc that was perhaps the most difficult and controversial of the play. The insistence that what she ultimately does was justified is devastating and haunting.

Lukas Radovich gives John a mysterious air until he springs into action and embraces the role as de facto leader of the opposition forces that swirl around the PM. It’s a level-headed performance in a difficult role that is full of symbolism. Giuseppe Rotondella makes for a passionate Amir; Lachlan Ruffy a somewhat pretentious academic. Sophia Forrest inhabits the oddly conflicted Holly who, in many ways, facilitates John’s ascension and Mark’s downfall.

There were so many good performances here – Elle Mickel continues to impress with her gift at the comic gesture or quirky delivery that really hits the mark; Megan Smart carries a lot of the early action with a committed Rachel; George Pullar is a likeable diplomat who loves his daughter, is concerned for the PM, and has to deal with the most heinous of betrayals.

In a play dealing with lots of weighty topics and big ideas Brittany Santariga introduces an instantly recognisable human touch as her Zia looks for love in unexpected places with all the nervousness and anticipation anyone can identify with. There are some quite sweet moments between Santariga and Emma O’Sullivan as Zia’s prospective new girlfriend.

Directed with flair by Michael McCall in an interesting space over two levels that allowed for various entry and exit points for the actors, this had lots of energy until getting a little bogged down in dialogue heavy debate in the latter stages. The use of a transparent, movable screen to depict the nightmares of various characters was stylistically very effective as was the lighting and sound design. 

13 was written by Mike Bartlett, Directed by Michael McCall and stars the second year acting class of Lukas Radovich, Megan Smart, Giuseppe Rotondella, Sophia Forrest, Sarah Greenwood, Miranda Aitken, Lachlan Ruffy, Elle Mickel, Kate Betcher, George Pullar, Alexander Daley, Brittany Santariga, Angus McLaren, Emma O’Sullivan, Will McNeill, Anna Apps, Rory O’Keefe, Joel Davies, and Kieran Clancy-Lowe and is on at the Tricycle Theatre at Mount Lawley Senior High School until 15 October. 

And The World Goes 'Round - WAAPA (10 October 2015)

This is one of my favourite times of the year on the local theatrical scene. We've seen glimpses of what will be next year's graduating musical theatre class but now we get the full package, front and centre. The singing potential hinted at in the play Hiawatha; the triple threat skills used in support of the third years in Legally Blonde; all come together in this musical revue.

And what a revue to choose - the timeless songs of John Kander and Fred Ebb. Thirty five of them in fact. Such wit and intelligence in the lyrics, such polish and pizzaz in the music. It's nothing short of a treat for musical theatre lovers.

What I really appreciated is that the second year class had the opportunity to shine in so many facets. Yes, the singing ability is undeniable which is to be expected. The choreography by Australian musical theatre legend Nancye Hayes (who also directs here) was slick and, at times, sassy, funny, and downright sexy. The cast looked fantastic, predominantly dressed in black. There was a lot of accent work and admirable use of stagecraft and acting skills. Above all though was a sense of chemistry within the group - they worked well together and were enjoying the opportunity to perform such world class material.

The venue was perfect for this style of show - seating was along two sides only and we were nice and close to the action. The four piece orchestra under musical director Derek Bond was tucked away in one corner leaving plenty of stage space which was set out slightly staggered over three levels. There was an appropriate piano keyboard motif painted on the wall and floor.

Before I get to some highlights, there was a real buzz about this production. This was enhanced by the presence of several family members in the audience. I was talking to the uncle of one of the performers as we lined up outside; the mother of another who had travelled from interstate to see her daughter; and ended up sitting next to yet another mother who had come all the way from Queensland to see her son. The anticipation and pride they share is a delightful bonus.

I must mention the work of the orchestra, a feature of which was Derek Bond's excellent piano playing, but also included fine work by Austin Salisbury on Keyboard, Oliver Rundin on Drums and Jonathan Chen on Bass.

This is definitely a recommended show - it is utterly entertaining and very funny in parts and a wonderful showcase for this group. You might have trouble getting a ticket though even with an extra show added due to the demand.

It features the second year musical theatre class of:

Ashley Roussety, Christina Odam, Jason Arrow, Jens Radda, Joshua Firman, Kate Schmidli, Melissa Russo, Mikey Halcrow, Rebecca Cullinan, Stephanie Wall, Andre Drysdale, Marissa Economo, Stefanie Caccamo, Hannah Burridge, Matthew Manahan, Nathan Stark, Samuel Welsh, and Embla Bishop.

Some highlights for me:

The witty Coffee in a Cardboard Cup enhanced by some funny choreography featuring, you guessed it, cardboard cups (Wall, Baum, Manahan, Stark, Cullinan, Bishop).

A beautifully sung version of Coloured Lights by Stefanie Caccamo with appropriately good lighting design.

The delightfully cheesy ode to Sara Lee that hammed things up gloriously (to mix my food metaphors) again with cheeky choreography (Baum, Arrow, Welsh, Odam, Bishop, Russo).

Sam Welsh enjoying the attention of Misses Economo, Burridge and Schmidli with Arthur in the Afternoon.

The entire Chicago sequence but especially Nathan Stark's poignant Mr Cellophane and Messrs. Arrow and Welsh having a grand old time with an unexpected version of Class.

The first act closer City Lights featuring Mikey Halcrow and the whole ensemble that hints at what is to come next year when the entire group is on stage together.

The charming tale Ring Them Bells (Economo, Burridge, Russo, Caccamo, Roussety, Firman, Welsh, Manahan).

The hilarious Pain that sees Burridge, Caccamo, Odam, and Halcrow suffer under the tutelage of a wonderfully overbearing Drysdale.

Stephanie Wall's Maybe This Time from Cabaret.

The lads in coordinated attack with briefcases in hand during Money, Money.

And finally, the multi-lingual closer New York, New York featuring Bishop, Drysdale, Caccamo, Radda and Odam before the ensemble joins in to clinch the deal with a rousing finale that drew appreciative applause for a wonderful show.

There were so many other highlights so if you don't already have a ticket see if you can beg, borrow or steal one!

Music by John Kander, Lyrics by Fred Ebb, Directed by Nancye Hayes, with Musical Direction by Derek Bond, And The World Goes 'Round is on at the Enright Studio until 17 October.

Macbeth - WAAPA (9 October 2015)

WAAPA prides itself on housing many disciplines under the one roof at the ECU, Mount Lawley campus. Not only performance - acting, musical theatre, dance, contemporary & classical music - but all the other disciplines that are required to stage a production, from lighting and sound design, to costuming, set design, and arts management. This totality of approach makes the Academy unique and was certainly on display with this modern interpretation of Macbeth.

As I walked up the long corridor to the Roundhouse Theatre I could hear the portentous rumbling of modern music which was the first sign of the multi-media accompaniment we were about to experience. As the line of patrons waited to file in, the director Andrew Lewis pointed out signs asking that the name Macbeth not be uttered inside. This is a long held tradition given the play’s reputation of being ‘cursed’.

Once inside, the freshly painted stage was bare. There was a spiral staircase up to the second level where three screens were situated; one centrally, the other two on each side. Apart from occasions where a table might be wheeled on there was little set to speak of. This is where the light and sound design came to the fore and the use of those screens in various ways. They crackled into life depicting key elements - the roiling witches' cauldron or Seyton's initial appearance for example; or indicate the setting - Birnam Wood; but most noticeably were utilised to project live video of crucial soliloquies as they were being delivered on stage. 

Filmed from the upper level with at least two cameras given the juxtaposition of images, the harsh video look worked perfectly to heighten the emotion on the actor's face in close up - usually Benjamin Kindon as Macbeth but also Shalom Brune-Franklin as Lady Macbeth. The screens flickered and crackled in time to the modern, rhythmic music that was an ominous score. The lighting design was excellent with lots of diffused light through smoke and the highlighting of actors again in key moments but great use of shadow as well. 

Lewis had chosen to set this Macbeth "in a corporate world inhabited by knife-wielding, suited professionals". That suited look worked well with 'armour' being replaced by police style flak jackets. Brune-Franklin looked stunning in several gowns while the other female characters were sleek in their corporate attire; the men resplendent in suit and tie. Instead of swords and daggers we had knives and some vigorous confrontations, notably in the final fight between Macbeth and Macduff (Hoa Xuande).

All these elements gave the production great atmosphere and allowed for seamless scene transitions - this fairly hummed along. Having said that there were times, especially involving the witches, where there was a languid, at times hypnotic pace within a scene that was mesmerising.

This considered and skilled approach allowed the actors to shine in the space that had been so meticulously crafted. First and foremost, Kindon was excellent as Macbeth - a strong physical presence, he also conveyed the range of emotion from the almost boyish delight on hearing the witches' initial pronouncements to doubt and rage, the full force of hubris, and the slow descent into madness. His blind conviction of his invincibility was writ large as he mocked Macduff at the end only to be undone by such misplaced faith. His terror at Banquo's appearance was well portrayed and he handled the famous soliloquies well - the softly delivered Tomorrow, And Tomorrow, And Tomorrow the best of them.

Brune-Franklin was at her best in the aftermath of Lady Macbeth's terrible cajoling of Macbeth to commit murder and seize the crown. The portrayal of guilt as she prowls the castle, sleepwalking at night ending in the famous Out, Damned Spot was strong. Those two characters' intersecting emotional through lines is always fascinating. From the stronger of the two at the start Lady Macbeth crumbles into irreversible guilt and finally suicide. 

Lincoln Vickery was a most affable Duncan and later the more earnest Scottish Doctor who witnesses Lady Macbeth's malady and overhears her seeming confession. Dacre Montgomery provided a strong counterpoint to Kindon in the early going as Banquo and his return as the blood spattered ghost that rebukes Macbeth is powerful.

Harriet Gordon-Anderson, Stephanie Panozzo and Brittany Morel comprised a set of tantalising witches adding a highly stylised approach to proceedings. They also doubled as various servants and messengers. They were joined by Elle Harris as Seyton. Harris has a chameleon like quality that can see her playing a young boy (Fleance here and Tom Joad last year in Grapes of Wrath) with as equal credibility as the vamped up Seyton. 

The other standout though was Jessica Paterson as Malcolm. WAAPA often likes to switch up their casting with gender reversals and here Paterson was more than equal to the task giving Malcolm an impressive strength and charismatic stage presence. Unfortunately, Xuande's Macduff wasn't up to the same calibre, the Shakespearean dialogue coming across as quite flat in his delivery. 

Then there was the famous Porter scene that immediately follows Duncan's death. A radical shift in tone to provide some comic relief to the relentless darkness and allow our co-conspirators time to change. Megan Wilding nails the moment and owns the stage with a full-throated approach that had the audience laughing and squirming in equal measure. 

Another highlight was the tension built up in the scene where Lady Macduff (Rebecca Gulia) cradling her baby and talking to her son (Gordon-Anderson), is assailed by Bevan Pfeiffer's and Rian Howlett's assassins. Pfeiffer's sudden appearance out of the shadows at the back of stage had the person sitting next to me pointing in warning. The resultant actions were brutal and devastating.

I walked back down that long corridor reminding myself "this is one hell of a play" and that is testament to all those elements that WAAPA brings to the table. 

Macbeth is on at the Roundhouse Theatre until 15 October. Written by William Shakespeare, Directed by Andrew Lewis, Set Designer Ashliegh Hodges, Costume Designer Dolly-Mere Nettleton, Lighting Designer Chloe Ogilvie and Sound Designer Alice Carroll.

It stars the 3rd year graduating class of Benjamin Kindon, Shalom Brune-Franklin, Dacre Montgomery, Lincoln Vickery, Jessica Paterson, Bevan Pfeiffer, Hoa Xuande, Rebecca Gulia, Harriet Gordon-Anderson, Luke Fewster, Claudia Ware, Seamus Quinn, Elle Harris, Brittany Morel, Stephanie Panozzo, Megan Wilding and Rian Howlett.