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

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

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

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

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

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

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

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

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

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

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

The Normal Heart - GRADS (2 November 2023)

For me, one of the most magical occurrences in a theatre is when an audience goes completely silent as if holding its collective breath while watching a moment onstage. It's as if we dare not interrupt the alchemy unfolding before us. It feels primal and, in some miraculous way, time stops for the briefest instance. Such a moment happened during a monologue in the 2nd act of playwright Larry Kramer's damning indictment of the response to the burgeoning AIDS crisis in early 80s New York. 

Phil Bedworth's character, Bruce Niles, recounts the events leading up to his partner's death and its immediate aftermath. It is shocking, heartbreaking, and feels utterly authentic in its specific details. Bedworth conveys the desperation and disbelief of losing a loved one under these circumstances with an empathy that is stunning. It is an emotional highpoint of the production. 

This is where the play is at its most effective, detailing the human cost of a disease that was, at the time, ignored by the media, shunned by politicians, and barely grasped by the medical profession. The character of Ned Weeks (Zane Alexander) is based on Kramer himself who became a gay activist in response to an increasing number of his friends becoming sick and subsequently dying. He was instrumental in forming a crisis organisation and notably railed against New York mayor Ed Koch for not doing enough to fund an effective response. Kramer proved to be so confrontational that he was eventually ousted from the organisation he helped create. He did, however, raise awareness of a health crisis that would become a worldwide epidemic.

Given this, the writing roils with outrage and condemnation. Characters deliver tirades of facts and figures. There is a lot of finger pointing, both literal and figuratively, as arguments rage over the lifestyle of gay men; their right to sexual freedom; comparisons to the fate of the Jews in World War 2; the nature of love; and who is to blame. There are even announcements of the number of cases reported by the CDC that increase as the months go by. Ned mentions a few times the forty men he knows who are sick. At first it all felt a little too abstract and intellectual for mine. I wanted to see the people behind the numbers. The highlight of the first act, therefore, was the argument between Ned and his brother Ben Weeks (Dean McAskil) whose reluctance to support Ned is viewed as a betrayal and sign that Ben considers him 'sick'. 

While the first act is still powerful and disquieting the play opened up for me in the second half when the personal toll is more fully explored. That relationship between brothers is fleshed out; Ned's own partner Felix (Steven Hounsome) becomes ill; the clash between Ned and the more diplomatic president of the crisis organisation, Bruce Niles, escalates; friendships within the group are tested; and ultimately Ned has to face his own mortality reflected in his lover's fate. 

Director Barry Park has assembled a fine cast and wisely stages the production in a black box space with minimal set or props so that the focus is squarely on the performances. He is assisted, however, in no small measure by an excellent original score by Myles Wright that accentuates moments of high emotion with great subtlety. 

Accomplished performer Zane Alexander is rarely off stage as Ned Weeks who is deliberately written to be obnoxious. Alexander rises to the occasion in an outburst at mealy-mouthed government official Hiram Keebler (Phillip Steele-Young) where Ned simply can't contain his anger. There is the similar outburst directed at his brother but it's in the deepening crisis of Ned's own relationship where Alexander really shines. Kramer and Park put him through the ringer as the so-called firebrand struggles to deal with Felix's condition. It's a very physical performance with lots of big gestures and hand motions that, given how precise a director Park is, can only have been a deliberate choice. The actor had to gather himself before his final bows after reaching a crescendo of anguish and unconditional love in the closing scene. 

Steven Hounsome plays an excellent foil with his Felix being straight forward and practical compared to the histrionics of Ned. He too navigates a fraught emotional arc with great skill. Phil Bedworth delivers that devastating monologue and projects decency as a man committed to the cause but at odds with Ned in how it should be prosecuted. 

Anna Head impresses in a tricky role as Dr. Emma Brookner. Not only confined to a wheelchair, most of her dialogue feels like a diatribe designed to convey facts and figures as the 'medical representative'. However, Head imbues Brookner with a genuine sense of compassion as she fights what seems a losing battle. This is epitomised in another outburst that builds in rage until it explodes in a flurry of papers as the doctor's request for funding is denied.  

Dean McAskil makes for a compelling visual counterpoint to Alexander - he towers over the more slightly built man which is symbolic of the brothers' relationship in many ways. The lawyer, at first, seems more preoccupied with material wealth in the form of a new house than his brother's activism but there is another moment of compassion when Felix visits him to engage his services. McAskil doesn't oversell the complicated relationship with Ned which leads to a satisfying arc.

Adam Poole has a standout moment as Mickey Marcus as he launches into a monologue that verges on hysterical but given the context was earned and a jolt of theatrical adrenaline. He tackles it with a full on intensity that was even more notable given it's quite a long speech. Jordan Holloway adds a sly sense of humour (and yes, there is a certain wry humour throughout) as Tommy Boatwright which is a welcome departure from most of the more earnest characters. 

This is a much lauded script tackling an important issue that resonates to this day with the Covid-19 pandemic an immediate comparison. I could sense the playwright's vitriol and that often bursts into life but every now and then this production felt somewhat too polite and measured. If ever there was a character and an issue that invites a full-blown assault it is Ned Weeks and the egregious handling of the AIDS crisis. Having said that, this is a talented cast and consummate director bringing to life a complex script and that is to be applauded.  

The Normal Heart is on at The Actor's Hub in East Perth until 18 November 2023.

The Trail To Oregon! - Art In Motion Theatre Company (28 October 2023)

The great westward expansion was one of the pivotal events in mid-19th century America as hundreds of thousands of settlers forged a path to the Pacific coast. One of these Emigrant Trails typically started in Missouri and wound its way thousands of kilometres to Oregon. It was a hazardous journey that, in many ways, defined the character of a young nation. Those brave souls had many obstacles to face - bandits, harsh weather, starvation, disease, wagons with octagonal wheels, deformed oxen, aggressive hand puppets, um, vengeful crustaceans, the whims of a capricious God, and, of course, dysentery. Oh, and a particularly savage and bloodthirsty race known only as The Watchers. It's a wonder any of them survived!

Yes, this comedy musical, based on a video game, takes some basic facts and runs wild with exaggeration and absurdity. It follows a family - surname chosen by the audience, in this case the Spareparts - whose farm has burned down so purchase a wagon in Independence, Missouri to head west to Oregon. The family unit comprises the Father (Mathew Leak), Mother (Lukas Perez), 7 year old Son (Verity Lux), 14 year old Daughter (Brittany Isaia), and Grandpa (Max Leunig), all named by the audience with great enthusiasm. We had a Yo Mama, Woody Woodpecker, Screw Loose, and Seymour Butts while the father's *name was probably an inside joke I didn't quite catch and seemed to change slightly on each utterance. These were incorporated into lyrics and dialogue with generally amusing effect. Riley Merigan plays a variety of characters they encounter on the way, notably the bandit McDoon.

At first I didn't quite know what to make of what was going on. The volume of the performers' mics was quite loud to compete with the onstage band so a lot of the expository lyrics were hard to catch in the early going. The humour was broad to say the least and it was all being played way over the top. Then it started to win me over as I realised what type of show it was and for this main reason - the talented cast was one hundred percent committed to the bit. Anything less and this could have devolved into a slog but they sold the hell out of the craziness with no shortage of charm and, at the end, considerable bravery. 

They were well supported by the cowboy-hat-wearing band who were all visible, corralled behind a wooden fence. There was also a bit of a home crowd feel to the audience who cheered on approvingly so I settled into a night of entertaining silliness. It also helped that the story vaguely reminded me of that great, quirky road trip movie Little Miss Sunshine where a fixated father and practical mother travel to California in a broken-down VW van with their starry-eyed daughter, withdrawn son, and crotchety grandfather. In this analogy Steve Carell is the... ah, blind and horny ox pulling the wagon (sorry, Steve). 

Every performer gets a moment to shine, whether it's Leak extolling the virtues of the journey ahead in The Grind or trying to woo Mother before the portentous Dysentery World; Perez dishing out homespun practicality and sass whilst also delivering the vocal highlight of the show with their solo When The World's At Stake; Leunig leading the cast in the whacky first act highlight Pays To Be An Animal; or Lux, displaying deft comic timing throughout, plunging headlong into the show closer Naked In A Lake where the cast strip down to tan bodysuits and tights as the second part of perhaps the zaniest ending you'll ever witness in a musical. 

The first part of that ending involves the audience selecting the fate of one of the family members. On this night it was Isaia who was tapped to perform a, shall we say, breezy and theatrically aromatic tour de force that saw her throw herself around the stage with the threat of wardrobe malfunctions aplenty. Isaia also has a strong vocal moment at the start of the second act with Lost Without You. Then there's Merigan who is the spare parts man extraordinaire to this Spareparts family. Forget dressing up as Barbie, Ken or Oppenheimer for Halloween... if you're not rocking a full-size Lobster costume (which genuinely had me in stitches) or Ox outfit you're simply not doing it right. Merigan chomps his way through the scenery with a bevy of villains and bizarre characters the family encounters.

The band under Musical Director Joshua Hollander plays an integral part in keeping the tempo upbeat, even rocketing the second act along with the frenetic Speedrun. As befits the mostly mid-west country vibes, it's a guitar (Sam Michael; Erin Steicke, bass) and banjo (Kieran Ridgway) driven score that's a jaunty accompaniment to the antics right in front of them. Hollander and Jennifer Phan play piano with Dylan Boxwell on drums and an uncredited saxophone player makes a cameo when Father is in the mood for lurve. 

Director Micheal Carroll allows plenty of room for the cast to "go big" with a sparse set and uncomplicated props including the practical simplicity of the wagon itself. Production Assistants Stella Sawyer and Tashlin Church create effective costumes for the family members with some memorable flourishes utilised for various creatures and villains. Sophie David enhances the eclectic nature of the family members with idiosyncratic choreography that favoured energy over technique. 

In all it's a boisterous show that doesn't shy away from its inherent silliness and one that the cast seemed to enjoy immensely with several corpsing alerts along the way. The audience also had a blast the night I was there and, I admit, I was heartily laughing along to the absurdity. A fun night at the theatre. 

*after inadvertent digital snooping I believe the name bestowed upon Father was Hatsune Miku who is - quick Google search - a 16 year old 'virtual idol'... okay then. *checks notes* I guess I was close with Hotsuemekoo (blank stare). 

Cats - WAAPA (11 September 2023)

What a ride the graduating musical theatre students have been on - from Sondheim (Assassins, Sweeney Todd) to Andrew Lloyd Webber by way of a pit stop in small town America (Footloose). I confess, I was a little wary going into Cats as I've always found it an oddly constructed musical but damn if the performers, musicians, and the production & design students didn't win me over, especially with a cracking 2nd Act. I still have no idea what a Jellicle cat is or what actually happens when one is reborn but it matters nary a jot with this amount of talent on display. 

Instead of wondering about the tenuous narrative through-line, it struck me early in the 1st Act that this is like a 1970s concept album or, perhaps more appropriately, a Showcase of sorts. Each song is a distinct set piece as different cats are introduced who have their own characteristics and personality expressed through lyrics and movement. Experienced through that lens I sat back and let the performances speak for themselves. 

Two aspects are immediately apparent - this is a dance heavy production with Jayne Smeulders' stunning choreography testing the performers' stamina and athletic limits; and the music students in the 16 piece orchestra (including 5 staff members) under the baton of musical director Craig Dalton are featured as equally as the performers on stage.

This was notable from the get go. All of the musicians are visible in the 'pit' in front of the stage so are part of the visual presentation. I really liked how the cast gathered stage right and listened intently to the Overture then applauded along with the audience before taking up their positions. Prior to the commencement of the 2nd Act, a sparkly attired Dalton asked the musicians to stand for applause which was another lovely touch. And applaud we did as they played out the show after final bows. The musicians did the keyboard/synth infused score justice and then some. Sound design by Dale Kerrison ensured the balance between music and vocals was spot on. 

Then there were the smart decisions that reinforced the "Seen through new eyes" tag line on the poster. Significantly, there isn't a tail or a whisker or a litter of lycra bodysuits in sight. Featured cats such as Jennyanydots (Eilidh Sinnamon) and Bustopher Jones (Mitchell France) are given distinctive, colourful costumes while the bulk of the company are all in black; sleek, sexy, and sensational. Sure, there is the occasional pawing motion or flick of an imaginary tail, even a hiss or two, but this show is designed for perpetual motion. 

To assist that kinetic momentum, the stage design is sparse to maximise the space for the nineteen strong company to cavort, tumble, and slink about in. There are numbers designed around a piece of movable set such as a wardrobe, street lamp or piano with the use of a scrim at other points to project surtitles onto or to enable startling shadow work. The lighting design uses a lot of spotlights to highlight individual performers for their moment in the moonlight but also use of shadow and darkness to disguise the movements of one mystery cat in particular. Excellent work by set and costume designer Elouise Greenwell and lighting designer Amber Lorenzi.

Which brings us to the MT students and what a marvellous cohort they are. 

Matthew Manning embodies a real sense of showmanship with his Munkustrap, like an emcee in this strange, feline world. I'm always a sucker for a tap routine which Sinnamon leads during The Old Gumbie Cat. Patrick Friedlander offers up swagger aplenty as a cross between Stuart Goddard's alter ego and Billy Idol as Rum Tum Tugger. France is an affable fat cat with padded cushion and all while Curtis Kossart and Emily Lambert dazzle in an early highlight with Mungojerrie and Rumpleteazer.

Cameron Taylor has a gorgeous singing voice which lends his Old Deuteronomy enormous empathy. Genevieve Goldman sings the hell out of the iconic Memory and looks resplendent in a sequined evening gown as her Grizabella ascends to cat heaven. 

The first act ends with a prelude of that song right after the extraordinary dance sequence of The Jellicle Ball, a balletic and acrobatic tour de force that rightfully drew raucous applause. The WAAPA Marketing department has been doing a terrific job on social media posting behind-the-scenes clips one of which was the before and after of that sequence. Now I know why the performers were drenched in sweat! 

I was utterly charmed by Gus: The Theatre Cat as a quiet interlude early in the 2nd Act as Mia Beattie (Jellylorum) introduces Asparagus (Tim Brown) with such a deft touch. Then director Crispin Taylor cranks up the energy even further and the show rockets into another gear. Brown leaps forth to launch a full on charm offensive as Gus regales us with the tale of The Awefull Battle of the Pekes and the Pollicles usually reserved for Munkustrap. In this he is assisted by terrific shadow play on the scrim and other cast members engaging in some delightful whimsy... as humans playing cats playing, um, dogs. 

Before you can catch your breath Marcus Frost's Skimbleshanks, the Railway Cat, is dancing up a storm with the rest of the cast using everything from umbrellas to old-fashioned lamps, suitcases, and brooms as props in another burst of eye-catching choreography. Then it's time for my favourite song, Macavity: The Mystery Cat, where Hanna Harvey (Demeter) and Grace Alston (Bombalurina) are seductive and playful as the song builds and the orchestra swells into a brassy crescendo. Patrick Volpe exudes physical menace as Macavity in a year that's also seen him play a brooding Sweeney and an intense Chuck from Footloose. There's a lovely piece of stagecraft that proves that Macavity was indeed not there. 

Then it's time for some audience singalong to Mr. Mistoffelees led by Friedlander while Declan Allen engages in an acrobatic dance routine that Cirque du Soleil would be proud of. Mia Guglielmi (Jemima) leads us into Goldman's showstopper and then we're racing towards final bows. In a move that surely was intended Volpe and Guglielmi are placed together in those final moments, Sweeney Todd and Mrs. Lovett reunited.  

There's no doubt about it, my initial scepticism was swept away and this was an impressive way to end an impressive year.  

Wise Children - WAAPA (9 September 2023)

"What a joy it is to dance and sing!"

What a joy it is indeed as the graduating actors close out the year with a sumptuous theatrical treat. The first thing that dazzles your eyeballs on taking your seat in the Roundhouse Theatre is the amazing set. The amount of detail is quite astonishing to recreate a lodgings for wayward performers and the backstage of a theatre itself. Bedecked with lamps, costumes, and all manner of practical items and curios, set designer Sarah Halton and props supervisor David Packer have truly excelled. Spread over two levels, with the musicians nestled at the top, it is one of the best I have seen at this venue.

It is enhanced by outstanding lighting design by Michaela Gosby under the mentorship of professional lighting designer Lucy Birkinshaw who is well-known to Perth audiences for her work with Black Swan State Theatre Company and Barking Gecko amongst others. With such a rich canvas to highlight, the lighting adds colour and vibrancy in line with the more theatrical moments, with shadows and silhouette used when the action skews far darker. The Trinity Test in the movie Oppenheimer isn't the only impressive explosion you'll see this year. Then there's a "chandelier" that might rival Phantom's for visual impact early on in proceedings. It's bloomin' great! 

But wait, there's more! Sarah Halton again, this time as costume designer, has crafted a bevy of costumes to cover the various time periods of the story for a cavalcade of mainly over-the-top performers, echoing vaudeville, Shakespeare, with even a hint of Monty Python thrown in. Fair to say this production is a feast for the eyes. 

All this is in aid of a quite complicated story which, in its essence, is highly theatrical in nature, drawing on the aforementioned Bard. Embracing this, director Adam Mitchell has pushed the students to perform 'large' and there's ribaldry and plenty of shtick to go around. This is aided by the work of choreographer and movement coach G Madison IV who puts the cast through their paces with mock fighting, dancing, and pratfalls. But there are also beautifully crafted moments of tragedy; one where blood is spilled and another that changes the fate of a character forever.  

That story is the tale of the Chance sisters, twins Nora and Dora, who come to terms with an entangled parentage as they pursue a career as showgirls with their actual father who has disowned them. The telling of the tale with all its twists and reveals is framed around an upcoming birthday party that is the catalyst for a deluge of memories. We will see not one but three iterations of the sisters over the course of the show - as 75 year old women reminiscing on the past; as young girls oblivious to what fate has in store for them, and as teenagers who blossom both sexually and as performers in their own right. There is a swirl of characters around them, notably Grandma Chance, their real father Melchior Hazard, his brother and their legal father Peregrine Hazard, and Melchior's wife Lady Atalanta with whom he has two children, Saska and Imogen Hazard. That will suffice as a rough sketch as to expand it further would spoil all kinds of machinations.

To the performances and Edyll Ismail and Lauren McNaught are our narrators as the elder Nora and Dora Chance. There is a warmth tinged with sadness here that draws us in early with likeable turns that have the weight of a long life in the theatre and emotional trenches. Elyse Phelan and Lucinda Smith play the youngest iteration of the twins with convincing childlike mannerisms and impetuous behaviour. The showgirl versions are perhaps the most clearly delineated with Estelle Davis portraying Nora with bawdy confidence and impulsiveness while Tess Bowers' Dora is more reserved and yearning. 

Kelsey Jeanell grabs the spotlight early as Estella and later as the spiteful Saska. Ruby Henaway is an audience favourite as Gradma Chance; her blunt characterisation is a hoot and if you thought the surprise waiting in the tunnels of the horror movie Barbarian was shocking wait until you get a load of Grandma's antics! By contrast, Aida Bernhardt makes for a most elegant Lady Atalanta. 

Will Lonsdale (younger) and James McMahon (older) play the famous Shakespearean actor Melchior with amusing vanity and slippery obliviousness to the harm Melchior has caused. Tyler Redman (younger) and Joseph Baldwin (older) tackle a tricky role with skill as Peregrine is a character whose arc is not as clean-cut as we'd been led to believe. Tre Maclou ends up a slightly tragic figure as his comedian, Gorgeous George, is reduced to the fringes of society while Jesse Vasiliadis and Harrison Gilchrist get to vamp it up with some gender-swapping flair.  

To add to this entertaining brew we also have plenty of songs with musical direction by Joshua James Webb. I was particularly taken by the use of xylophone which contributed a dreamlike quality that was entirely appropriate. While the actors may not be up to the quality of the musical theatre students when it comes to vocals there were some very effective moments - Estelle Davis singing The Way You Look Tonight; the Girls Will Be Boys song by Davis and Tess Bowers that skewered Shakespearean plot antics; a sunglasses clad Lucinda Smith crooning away on the upper level; and the massed vocals on the closing number that was, well, fun. Plus there's an eighties classic I haven't heard in many a year for the performers to cavort to. 

In all this was an outstanding way for this cohort to end their public performance slate at WAAPA. It was big, entertaining, challenging and a triumph for all the disciplines involved. The work of the Production and Design students this year has been exemplary and what a space they provided for the actors to play in. One they seemed to acknowledge and relish. 

Ladies Who Wait - Off The Wall Productions (17 August 2023)

My apologies King Henry VIII but the zeitgeist has well and truly turned against you. Taylor Swift's Eras Tour is elevating her to global icon status; Barbie is girlbossing the box office with Greta Gerwig and Margot Robbie's stars on the ascendancy; and the Matildas have captivated the hearts of a nation. No time for your beheading histrionics, Your Majesty! And so it is with the original black comedy Ladies Who Wait where Henry is but a painting on the wall as three of his wives, two of his offspring, and the most unlikely duo of ladies-in-waiting take centre stage.   

Playwright Yvette Wall has taken what started life as a 10 minute short play and developed it into a full two act production which is to be commended. I can't say that it entirely worked for me as the humour is very broad, however, there are elements that I enjoyed and with further tweaks the play will continue to evolve. 

There's a nice premise here - two Baldrickesque figures are foisted on, firstly, Anne Boleyn (Emily Howe) the day before her execution and, some twenty years later, they attend to Queen Mary 1 (Jennifer McGrath) who struggles to give fake birth to a fake baby (fake news!). Along the way they are assailed by the ghost of Catherine of Aragon (McGrath), and visited by Jane Seymour and later Lady Elizabeth, soon to be Queen Elizabeth I, both played by Maree Cole. Oh, and there's the Ken of his day, the guard Roger (David Wall) who, on occasion, shuffles in and out mostly bewildered by antics far above his pay grade.  

Which is where a lot of the comedy is generated as our two presumptive heroines Alice (Colleen Bradford) and Agnes (Fiona Forster) play lowly commoners who by happenstance come to be in the presence of royalty with all its politics, pretence, and false grandeur. Nothing like a sharp tongue and tart retort to burst the bubble of the high and mighty. 

There's no doubt Bradford and Forster work exceedingly hard to generate laughs but it felt somewhat hit and miss for mine with a bit too much repetition. There are plenty of crass gags, fart jokes, modern slang, swearing for shock value, and a fair amount of shrieking. They bounce off each other well - Forster with such an expressive face and Bradford playing it a little more slyly - but it's so over-the-top at times that I wanted some introspection or quieter moments of astute observation. More dagger than cudgel or, in the vernacular of the play, more long sword than blunt axe. I did like their old age make-up, wig, and costumes in the second act which were quite striking and sold the time difference well. 

Emily Howe gives her Anne Boleyn a suitably regal air which is aided immeasurably by a clear, theatrical voice which I was quite struck by as the play begins. She plays it mostly straightlaced until Anne is cajoled by her ladies-in-waiting to give the baying crowd some what for. 

Jennifer McGrath is given free rein by director Gino Cataldo to play both Catherine and Mary as larger-than-life figures - the former as a haughty Spanish ghost with an impressive monobrow; the latter as overly needy and whiny. Again, with Agnes, Alice and Catherine/Mary all pitched at such heightened levels the play can be overwhelming, especially if you're sitting in the front row where you're only a metre away from the screeching at times.

Then there's Maree Cole who shines in both her roles with an eye-opening transition from her oblivious Jane Seymour in the first act to the practical and forthright Elizabeth in the second. Cole brings a lovely, light touch to Jane which makes the character instantly likeable and supplies the variation in comic delivery that was welcomed. It's her Elizabeth though that is a standout and changes the dynamic of the production. I loved the robust costume which reinforced the sheer competence and, well, Protestant nature of Elizabeth who calls out her half-sister's nonsense as Mary pretends to give birth. 

There's a stretch when things settle down and Elizabeth and Mary engage in a truly dramatic exchange that caught my attention. This encapsulates what is a pivotal moment in British history as the half-sisters - one Protestant, the other Catholic - battle for the soul of their nation. It's the highlight of the play for mine, in terms of performance and the potential for developing the premise further.

All that's left is for our heroines to enjoy their strawberries and wine as Elizabeth departs to become another global icon for the ages.

Mentions to lighting designer Virginia Moore Price for the nice flourish accentuating moments of suggested violence; the costumes from Hustle and Bustle Costumes and Colleen Bradford; the set artwork of Ursula Kotara, in particular the paintings of Henry and (amusedly altered) Catherine; and it's an unusually classy program by White Mouse Design. 

The play runs until 26 August in the Studio space at the Subiaco Arts Centre. In heartening news for an independent production of an original script it is sold out for the rest of its run.  

A Chorus Line - Drew Anthony Creative (4 August 2023)

The key element to the theatregoing experience for me is how a show makes you feel. Does it move you, make you laugh or cry or both. Maybe it's thought provoking or confronting. Oftentimes it could simply be entertaining in a toe tapping, sit back and relax kind of way. How we respond to a production also depends on what we bring to the table. Our mood, our life experiences, whatever happens to be rattling around in our brain at the time. Then there's that ingredient that I always crave in a live performance of any kind - that moment of magic you weren't expecting and didn't see coming that plasters a grin all over your face.

I say all this because opening night of A Chorus Line made me feel so damn comfortable. Not because the seats at the Theatre Royale are so comfy (they are) or that the venue is ideal for an intimate viewing experience (it is) but because I immediately knew that I was in good hands. Trying to put it into words in the lobby after the show I equated it to sitting at home watching a prestige television series where you simply know that everything is going to be first rate and reward your attention. It was and it did. Then there's this - there's not one but TWO moments of magic that had me tingling with joy in a way only theatre can make you feel. More on that later.

It's easy to see why A Chorus Line was the longest running show on Broadway until toppled by a bunch of spandex clad felines getting all jellicle about, um, jellicle things. It's a brilliantly written and constructed piece of theatre that won a truckload of Tony Awards and a rare Pulitzer Prize. It's also, surprisingly and delightfully, a fully blown character study... of some 17 characters! Those characters are dancers auditioning for a director to be in, you guessed it, the chorus of an upcoming Broadway production. 

This adds a whole other 'behind-the-scenes' layer that theatre lovers will recognise and appreciate. I felt like I just happened to be in that 'room' sitting in on the auditions. I'll admit, especially in the latter stages, that discussions in song and dialogue about being an artist, needing a gig, handling rejection, worrying about what happens next all hit hard based on my own recent and ongoing experiences as a screenwriter. There's a truth here will resonate with anyone undertaking a creative endeavour. It's a potent cocktail.

The show starts before you really kind of realise it as performers slowly make their way to the stage and do warmups. The thing that immediately struck me was the camaraderie on display. Then G Madison IV makes his entrance as the director Zach with a commanding voice that had a lady sitting near me exclaim "Oh!" and sit bolt upright. That voice and his physical presence are immediately captivating. I believe he is the demanding director who will brook no argument and I witness the cast believe it too. Madison spends a large portion of the show behind us in the top deck of the theatre somewhere so the power of his voice is critical to hold us and the cast in thrall.   

It's here that I should mention the sound design and quality. It is impeccable. Every lyric, every line of dialogue is crisp and easily discerned. The balance with the backing music is spot on; both vocals and score in perfect harmony. Kudos to Jordan Gibbs (Audio Design/Operator), Josh Mills (Audio Operator) and Music Supervisor Joe Louis Robinson. 

We quickly get to the character study of it all as the director asks each character to tell him/us something about themselves. The creative way this is handled in the writing, the staging by actual director Drew Anthony, in costuming choices (Dani Paxton), and by the performers is quite glorious. Based on real life interviews with performers as the show was being conceived there is, again, a ring of authenticity about these tales, from childhood memories to adult musings. They're funny, shocking, tragic, poignant, and in many ways, totally relatable. This is enhanced by how they're delivered - in song, in dance, in dialogue, or a mix of all three. Each character is sharply drawn and delineated and we get to know them quickly which is no mean feat in such a big cast. 

Highlights, in a show full of them, include Ethan Churchill dancing up a storm as his Mike describes how he first became involved with dance (I Can Do That); the trio of Elethea Sartorelli (Sheila), Emma Haines (Maggie), and Ciara Taylor (Bebe) giving a powerful vocal rendition of At The Ballet; Rosemary Spelman (Kristine) and Jamie Papanicolaou (Al) showcasing exquisite timing in the very clever Sing!; Will Basson (Mark) bringing the funny with Hello Twelve, Hello Thirteen, Hello Love; and Lucy Goodrick, all swagger and attitude as her Val recounts a transformation from afterthought to success with a not so little enhancement in Dance: Ten; Looks: Three.

The show then does something really interesting as it narrows its focus to the major dramatic conflict of the piece between Zach and Cassie (Morgan Cowling) who attempt to work through their differences before Cowling launches into dance and song with another highlight, The Music and The Mirror. The acting is impressive by both, indeed this is a true triple threat show. The singing is excellent across the board (Glenn Hogue, Vocal Director) and the dance numbers are nicely calibrated from the 'learning' phase to rehearsing to full blown, slick production number at the finale. There's everything from tap to classic Broadway chutzpah, hats and all, which is always fun to watch with a massed cast onstage. Terrific work by Choreographer Jessica Ashton and Assistant Elysha Atwell. 

Which gets us to our first piece of magic. The audacity to stop and deliver a long, affecting monologue by youngster Zak Bresland as Paul. Earlier I had silently wished the spot operator would shine a little light my way so I could check the program to work out who was playing Paul after I thought to myself "Who the hell is that!" after an impressive piece of singing. He may be too young, ideally, to be playing the role but he nails a harrowing tale that slowly builds to an emotional outburst and holds the stage, alone, for several minutes. That's no small feat. I also liked the softening of Zach's character in response and at a later incident regarding Paul.    

The second piece of magic is kicked off by Sophie Psaila-Savona whose feisty Diana tackles perhaps the most well-known song from A Chorus Line, What I Did For Love. It's what happens next that I didn't expect (and won't spoil here) that is one of the reasons I love going to the theatre. When I twigged to how Anthony was staging this showpiece number I literally did grin from ear to ear. A fitting high point for the production and all involved. All that's left is to bring out the glitz and glamour as the cast take their bows to the reprise of that other famous number, One.  

The set design is simple - bare stage and a projected back screen to denote the space - which keeps the focus, rightfully, on the performers. Lighting Design by Luke Scatchard highlights the ensemble and picks out individuals as appropriate before dazzling with the finale. 

There are so many small details that I loved - the "non-hat work" of Allen Blachford (Bobby), himself an award winning choreographer; his by-play with Sartorelli which is imbued with a history of many performances together; the subtle digs and blocking between characters as unstated rivalries play out; and so on. It is a true ensemble piece so mention must be given to the work of Jamie Rolton (Don), Greg Jarema (Greg), Lana Freeman (Judy), and Gemma Hanh (Connie) who added so much texture and life to their characters. 

This production has no interval which apparently surprised some but it flew by for me. I was in my comfort zone and they had me from the get go. A Chorus Line is on until 20 August at the Royale Theatre in Northbridge and is recommended for anyone who loves brilliantly written, staged and performed theatre.