In an all too rare foray into twentieth century Russian opera, Opera Australia showcases a large local cast of shining talents in The Love for Three Oranges.

Writing The Love for Three Oranges almost one hundred years ago, it seems that Prokofiev may have had some futuristic insight as to the attention span of the YouTube generation. The score is a mosaic of snatches of arias, choruses and scenes, pouring forth with seemingly chaotic spontaneity. The music may not be hummable, but it has an infectious snap, crackle and pop that is easily accessible and enjoyable on first listen.

Maestro Anthony Legge acts as a virtual ringmaster in juggling ever-changing tempos and cues across the full range of instruments, multiple soloists and massive chorus. The chance to perform this music must inspire a sense of the labour of love amongst the musicians and singers. With so much featured chorus work, the Opera Australia Chorus and the principals form a uniquely integrated ensemble cast, working as one with the Australian Opera and Ballet Orchestra to deliver a sterling performance of the fiendishly challenging score.

The source material is Carlo Gozzi’s eighteenth century play, which utilised the popular sixteenth century style, commedia dell’arte. The original French libretto has been smartly updated by playwright Tom Stoppard, who delivers a daffy, witty text that amuse without resorting to crass profanity.

In the traditional commedia dell’arte structure, the chief antagonist must fulfill two distinct quests, one in each half. The Love for Three Oranges follows a melancholic Prince who must learn to laugh. The Prince then sets forth in search of three Oranges to find his true love.

The design and direction of this visually appealing production, created in 2005, complements the style of the opera to perfection. Keeping pace with the ever-varying scenarios and characters, the cohesive combination of George Tsypin’s flexible scenic design and Mark Howett’s colourful lighting design matches the playfully spontaneous vibe.

Tanya Noginova’s spectacular, witty costume design identifies the large number of characters with great flair. The reveal of the white-gowned princesses within the luscious taffeta oranges was a trick worthy of Broadway master William Ivey Long.

Rising superbly to the challenge of adding featured acting roles and an abundance of choreography to their vocal performance, the Opera Australia Chorus steps downstage into the spotlight to great effect. The deliciously camp Ridiculous Ones are particularly amusing.

Making a very welcome return to the Opera Australia stage, Rosario La Spina projects a lovable helplessness as the Prince, and sings with characteristically rich, unwavering strength.

With Kanen Breen playing Truffaldino, it would seem redundant to mention that the character is the court jester. A three-ring circus in his own right, Breen delights with an ongoing stream of eye-catching comic business.

Of course, there must be some straight roles to balance the comedy. Unrecognisable except for his smooth bass voice, David Parkin plays the doddering King of Clubs. Equally well disguised in incredible red make up is Pelham Andrews, who bass voice booms out mightily as demonic villain Farfarello. Fellow bass Adrian Tamburini steals act three as the bloodthirsty Cook. Tamburini again displays the ringing power of his gorgeous bass voice, as well as unearthing a wicked flair for physical comedy.

Antoinette Halloran luxury casting indeed as the delectably named witch Fata Morgana. Singing up a storm, the glamorous, charismatic soprano Halloran maintains a sizzling presence.

Baritone Luke Gabbedy is in increasingly excellent voice as Pantaloon. Mezzo-soprano Margaret Trubiano is devilishly good as dominatrix Clarissa.

Eva Kong and Catherine Bouchier prove themselves great sports by waiting patiently on stage in their Orange costumes for their fleeting cameos as the two ill-fated Princesses Linetta and Nicoletta. Fortunately, Julie Lea Goodwin’s sweetly sung Princess Ninetta survives to take part in the happy ending.

The Love for Three Oranges plays selected dates at Joan Sutherland Theatre, Sydney Opera House until 9 July 2016.

Photos: Prudence Upton

You’re a good show, Charlie Brown

You’re the kind of production we need

You have ability, top quality, and a type of value that is very rare indeed.

This pristine production of Broadway musical You’re A Good Man, Charlie Brown is perfect school holiday entertainment, but why should the kids have all the fun? Sensational cast, crisp direction, energetic choreography and gorgeous design blend together for a wonderful evening’s (or matinee’s) entertainment.

Based, of course, on Charles Schulz’s comic strip PEANUTS, Clark Gesner’s 1967 off-Broadway musical was significantly revised and updated some 30 years later for Broadway. If certain sweet music theatre numbers are known as charm songs, this is an entire charm musical. A seemingly spontaneous series of scenes and songs gently drifts along in just the way a young child’s day must unfold. The truth in the characters adds depth to the warm and fuzzy retro vibe.

The winning design is the surely the best that has been seen at the Alex Theatre to date. Set designer Jacob Battista covers the absence of wing space by embedding featured props within the set. Two wooden frames house a mind-boggling number of pull down blinds to create backgrounds. The entire setting is framed by a comic strip panel running right around the proscenium arch; it even has Schulz’s signature in the bottom corner. (note: these rehearsal photos do not show the scenic design)

There has clearly been a high level of collaboration between Battista and costume designer Chloe Greeves. From the clouds down to the sneakers, every element has the same cute hand-sketched look. Greeves’ painted costumes are beautifully realised, especially Lucy and Sally’s glossy, perky frocks. Wigs, by Tom Lee, provide the perfect finishing touch for the girls.

Director Gary Abrahams has each of the six performers working at the same buoyant level. The evident delight the actors derive from the material is infectious, providing another layer of enjoyment to the audience. The show fairly zips along, with each new scene or sketch making sense because the commitment and focus of the actors shows that the events make such clear and important sense to the characters.

Dana Jolly’s choreography matches the spontaneous feel of the show, giving a natural outlet of joyful expression to the characters.

Musical director Ben Kiley has drilled the cast so that they can perform to the pre-recorded musical tracks without a conductor.

Each of the six triple threat performers acts with abundant flair, sings their role with ease and dances with deft, characterful style.

Cameron MacDonald adopts an adorably tense posture as easily flummoxed good man Charlie Brown.

Luigi Lucente is loveable as wise beagle Snoopy, bringing down the house with dazzling solo showstopper “Suppertime.”

Visiting from Sydney, Courtney Glass is a terrific find as Lucy, her delicious range of expressions making the disagreeable character sneakily likeable.

Sarah Morrison is wonderfully animated as sweet young Sally, delivering her petulant anthem “My New Philosophy” with nicely understated humour.

Joshua Robson captures the weary frustration of Beethoven-loving Schroeder, and displays a particularly lovely singing voice

Adam Porter neatly balances the childish and philosophical sides of Linus, scoring an early highlight with “My Blanket and Me.”

You’re A Good Man, Charlie Brown is highly recommended for children of all ages.

You’re A Good Man, Charlie Brown plays at Alex Theatre, Melbourne until 2 July 2016.

Photos: supplied

Lavishly produced on a grand scale, it is the intimate, intricate details that really distinguish Houston Ballet’s Romeo and Juliet, a very welcome addition to The Australian Ballet’s 2016 season.

Currently serving as both a resident choreographer at The Australian Ballet and artistic director of Houston Ballet, Stanton Welch makes the most of the opportunity to bring Houston Ballet on their first visit to Australia. Houston Ballet’s first new production in 28 years, Romeo and Juliet premiered in February last year. Welch’s masterful choreography showcases the full company of dancers superbly, with two dozen featured roles and large corps de ballet on stage.

Welch’s dual achievements here are the dramaturgical strength of the narrative and the excitingly modern yet respectfully traditional choreography.

While familiarity with the full spectrum of characters may take a little effort with consulting the program during the two intervals, the key elements are told in clear strokes that are coloured with cleverly conceived nuances and fine details. There are also many welcome moments of gentle humour. The drama is fleshed out with distinctly human characters, and Welch’s frequent juxtaposition of joyous celebration and solemn tragedy makes each loss of life keenly felt.

The stunning quality of Welch’s choreography is inseparable from the strength and precision with which it is performed. Welch’s profound knowledge of dance allows him to bring a freshness to the balletic expression, especially the fascinating range of lifts. Dance is threaded so naturally through the storytelling it is as if this was Shakespeare’s original intention. The massed swordfight is crisply percussive, with the dancers also providing beats as claps in the dance at the Carnival. The full company dance at the Ball is deceptively simple yet visually stunning.

Visiting conductor Ermanno Florio, music director of Houston Ballet, draws a thrilling performance of Prokofiev’s mighty score from Orchestra Victoria. Prokofiev’s inclusion of tenor saxophone adds to the uniquely evocative voice of the orchestrations.

Roberta Guidi di Bagno has designed the production on an epic scale. Audience members who have seen Met Opera productions, whether live or in cinemas, will have some idea of what to expect. In place of crinkled painted backdrops hung on netting there are multiple towering units, which face one way for the market and the other for the sumptuous interior of the Capulet castle. A series of grand tapestries hangs in the hallway of the castle, and the various chapel settings bear the rich symbolism of the medieval church. A striking transition occurs in act three, when the black cloth behind Juliet’s funeral cortege shimmers to the ground revealing the Capulet crypt adorned with countless flickering candles.

Costuming, also by di Bagno, is equally meticulous and visually appealing. Members of the house of Capulet dress in blood red with a regal purple stripe and ornamental touches of gold. The house of Montague is dressed in shades of steely grey and powder blue, which is particularly attractive for the men’s tights. Members of the House of Escalus sport a neutral palette fawn and cream, which is, it should be noted, more masculine than it sounds. With nary a tutu in sight, the women’s full length dresses flow and sway with elegant splendour. Juliet’s ball gown is a highlight, a red gown encrusted with so many fine white crystals as to appear pink overall.

Lighting designer Lisa J Pinkham often makes interesting use of shadowy effects rather than full bright light. On the large stage filled with many dancers, the eye is subtly drawn to key moments and characters.

Houston Ballet Principal Artists Karina González and Connor Walsh dance the title characters with exquisite grace and breathless passion. Beaming with adolescent joy as the burgeoning Juliet attends her first ball, González appears light as a feather as she dances with seemingly effortless beauty. Walsh’s open face conveys the noble Romeo’s ardent desire for the fair Juliet and also his crushing disappointment at the losses that ensue. Welch interrupts the pair’s first attempt at a pas de deux at the ball, rewarding our patience with a sweeping expression of love in the balcony scene. The bedroom scene pas de deux is another gorgeous dance highlight.

Fellow Principal Artists on stage are Ian Casady as the gallant, well-meaning Paris, Melody Mennite as winsome maiden Miranda and Sara Webb as the lovely, but all too quickly passed over, Rosaline. Jared Matthews is particularly impressive as the dynamic Mercutio, whose devoted loyalty to Romeo leads to his downfall. When fighting Tybalt, danced by Christopher Coomer, Mercutio’s side is pierced, leaving him doggedly struggling for balance and breath as he determinedly sees out the duel.

Ballet Masters Barbara Bears and Steve Woodgate give highly characterful performances as Juliet’s dear Nurse and the compassionate Friar Lawrence. First Soloists Jessica Collado and Linnar Looris bring the requisite gravitas to Lady and Lord Capulet. Soloist Oliver Halkowich and Demi Soloist Derek Dunn maintain a lively, entertaining presence as Romeo’s close companions Benvolio and Balthasar.

Ballet fans fortunate enough to have secured a ticket for The Australian Ballet’s presentation of Houston Ballet’s Romeo and Juliet are fortunate indeed.

Romeo and Juliet plays at State Theatre, Arts Centre Melbourne until 9 July 2016.

Photos: Jeff Busby

The world premiere season of Australian musical Einstein: Master of the Universe introduces an exciting new composing talent in Jess Newman.

For his first full-length musical, burgeoning young composer Newman has accomplished the rare feat of writing the book, music and lyrics. The almost fully sung-through musical includes a smattering of spoken dialogue (thus avoiding dreary recitative) and includes an impressive range of musical styles in the songs.

As Einstein embarks for America in 1930 he is already a celebrated Master of the Universe. To tell the intertwined scientific and romantic stories of his rise to prominence, the story rewinds to 1900, as Einstein graduates from the Zurich Polytechnic. The parallels to the cycle of modern media attention are shown in the way reporters first ignore the young scientist, then celebrate his achievements, then ruthlessly hound him for fresh material and invade his private life.

While Newman cleverly unfolds Einstein’s most significant discoveries, the focus on his personal life gives the musical its beating heart. Fellow student Mileva Marić supports Einstein’s research, and bears him two sons, before giving up on their marriage when Albert’s attention falls on Elsa Löwenthal.

As well as linking the show with recurring musical motifs, Newman creates an emotional anchor with Einstein’s treasured childhood compass. Mileva hears its story when Einstein drops it at the graduation. In what is possibly an imagined meeting in act two, Mileva passes it to Elsa, who finally returns it to Albert after Mileva’s untimely death. Seeing the opening farewell scene again with this background underscores the bittersweet nature of Einstein’s acclaimed success. The moving nature of the final scenes is testament to the quality of the writing as well as the commitment and talents of the cast and director.

Newman’s vision for the show is brought to fruition by the hard work, both on and off stage, of a passionate team of young theatre practitioners.

Director Daniel Czech, with input from choreographer and assistant director Nicholas Kyriacou, gives a distinct feel to each new song and keeps the narrative elements clear and engaging. At just under three hours, the show is overlong, but Czech keeps energy levels high throughout.

Set designer Robert Alexander Smith neatly frames the action in a diagonally placed rectangular performance space. The shimmering fabric of the two walls picks up Jack Kirby Crosby’s consistently handsome projection art. Locations change effortlessly, enhanced by the choreographed placement of period furniture by the ensemble cast. Nick Glen’s lighting design creates a warm nostalgic glow, using overhead lights so as to not to interfere with the projections.

While the majority of Lucy Wilkins’ costume design is of the serious period style, she has the chance to break out with a couple of featured fantastical moments, creating a glowing unitard for James Leone in “Insight” and a set of five galactically-inspired outfits for the ensemble for a number in act two.

Musical director Taylen Furness brings Newman’s score to life with a swinging eight-piece band. Blessed with a terrific set of singers in the thirteen-member cast, Furness has rehearsed the music so thoroughly that the music has a comfortable, familiar feel. There were some balance issues with the sound on this second performance, but the improvement heard in the second act bodes well for further enhancement as the season continues.

Scott Mackenzie conveys the driven fervour of Einstein, showing the scientist’s entertaining personality by keeping a sparkle in his eye. Mackenzie’s sympathetic portrayal keeps the audience’s affection with Einstein even though he drifts away from his wonderful first wife. With a rich, unwavering baritone, Mackenzie sings the role with flair.

Jessica Condon is nothing short of superb as Mileva, creating a rounded, highly endearing character in a woman who is largely forgotten in history. Able to flip from strong belting to the sweetest soprano notes, Condon’s soaring singing voice is a pleasure to hear. Condon’s performance of Mileva’s affecting final song, “It Starts Again,” is a true highlight of the evening.

Stephanie Adams faces challenges playing Elsa: as well not coming to prominence until later in the show, the character’s role in the break up of Einstein’s marriage makes her an unsympathetic soul in the audience’s eyes. A sweet singer, Adams gradually wins the audience over, reaching full engagement when Elsa passes back Einstein’s cherished compass.

In convincing aged make-up, Lachlan Hewson and Josiah Lulham are a lively, entertaining pair as Einstein’s colleagues/advisors/confidantes/rivals Lenard and Lorentz.

Daniel Cosgrove gives a carefully measured performance as Einstein’s softly spoken close friend Michele Besso.

Stepping forward from the ensemble in act two, talented young character actor Jordon Mahar is in excellent voice as rival scientist Niels Bohr. Mahar’s work is somewhat hindered in that the late-arriving role is far less defined than Lenard and Lorentz; he is also not given a costume or look that brings any sort of distinction.

The terrific ensemble also includes Alice Batt, Darcey Eagle, Kaori Maeda-Judge, James Leone and Mitchell Roberts.

It would only take a small fraction of the crowds flocking to mainstage revivals to sell out Einstein: Master of the Universe. Local fans with any interest in new Australian work are urged to support this production.

Einstein: Master of the Universe plays at Theatre Works, Melbourne until 10 July 2016.

Photos: Ben Fon

Eugene O’Neill’s poetically titled 1924 tragedy Desire Under the Elms retains an alluring and potentially affecting premise. While The Sol III Company’s new production contains many admirable elements, the scope of the play is stifled by the intimacy of the performing space.

The Sol III Company has linked their choice of play to advocacy for climate preservation, donating 10% of ticket sales to the Climate Council. Set on a New England family-run farm, the five central characters work the land, take their sustenance from it, and are consumed with the compulsion to own it.

A handsome but embittered young man, Eben Cabot sets a tragedy in motion when he commits the destructive betrayal of sleeping with his aged father’s young new wife.

Producer/director Andrei Schiller-Chan is clearly a humanitarian of the first order, and the very human aspects of the tightly woven play that have attracted his attention are evident. Avoiding any melodramatic pitfalls, Schiller-Chan brings out the realism in the drama. The New England accents and speech patterns are well rehearsed, adding to the authenticity of the period setting.

Schiller-Chan draws high energy levels from the cast. Playing farmworkers, and frequently angry ones at that, it is realistic for the four men speak in very loud voices, but in the small space of The Loft there is nowhere for this energy to go. The play has little room to breathe, and the tensions, schemes and desires that are meant to simmer, ripen and explode are thwarted, undermined and suffocated.

An aspect that also contributes to this is the combination of O’Neill’s acts one and two before interval, making it unclear that any time has passed from when Ephraim Cabot first brings home his new wife.

Lighting designer Travis Macfarlane paints the background with the lush pink, reds, blues and purples of the ever-changing horizon. Production designer Hahna Read sets the action on a sturdy condensed collage of farmhouse features, including a kitchen, parlour and upstairs bedroom. Both of these design aspects would also be well served by a grander stage. Allowances can be made for limitations in space and budget, but to have some characters sleeping on the floor next to the kitchen interrupts the overall level of realism.

Cindy Hanara’s costume design is suitably gritty, with costumes looking dusty and well worn.

The sound design, by Paul Raine, adds to the atmosphere with the sounds of nature as well as some well-chosen mood music.

Samuel Lavery stands out in a sharply focused performance as Eben. Looking every bit the part of the virile young farmer, Lavery effectively clouds his handsome looks with Eben’s embittered self-pity, giving a strong sense of the brooding danger.

Being younger than Ephraim Cabot’s 75 years, Darren Mort’s physique gives the old man a sturdy, broad shouldered look. A solid actor, Mort nonetheless needs more room to enable Ephraim’s blind ignorance to be played effectively. Mort and Lavery enact a very convincing physical fight between the warring father and son.

Still quite a newcomer to the stage, Diana Brumen comes across as a little young to play Abbie Putnam, hence hindering her portrayal of the character’s worldliness, quick minded scheming and well-learned seductiveness. Brumen clearly conveys the new level of weariness Abbie feels in the third act, showing the passage of time and change of circumstance. Her character’s unthinkable role in the unfolding tragedy is a tall order for any actor.

In the thankless roles of older brothers Peter and Simeon Cabot, Garikai Jani and Timothy Smith provide an energetic beginning to the play, making their characters’ contribution of necessary exposition more entertaining than it may have been. Although the brothers are not seen again after they depart for California’s goldfields, their charm leaves a lasting impression.

Given that such classic plays are all too rarely seen on our stages today, drama lovers will appreciate the chance to experience a by-gone treasure such as Desire Under the Elms.

Desire Under the Elms plays at Chapel off Chapel until 24 July 2016.

Photos: provided by The Sol III Company

Reconfigured as a chamber musical for 20 performers and six musicians, 1997 Best Musical Tony Award winner Titanic makes for a dream boutique production. StageArt has raised the bar again, presenting a superb cast, highly intelligent direction, beautiful music and creative, immersive staging.

Based on meticulous research, book writer Peter Stone shaped the musical’s story of the hopes, dreams and loves of the passengers and crew of the maiden voyage of the RMS Titanic. The sumptuously melodic, almost sung-through score is by composer Maury Yeston, a revered favourite of devoted music theatre lovers. Stone and Yeston capture the sheer joy of the new age before ending act one with the inevitable disaster. Yeston’s gorgeous score ranges from hymn to rag, from waltz to patter song, from soaring ballad to massed choral number. And there is plenty of his characteristic flair for intricate counter-melody along the way.

Original Broadway cast member Don Stephenson devised this streamlined version of Titanic, in which the ensemble cast plays some sixty characters from the crew and all three classes. Currently enjoying its Australian premiere season, this chamber revival has been a hit in Toronto and in London, where it has returned this year.

The multiple roles are a boon for the cast members, but could potentially be diabolically confusing in the hands of a lesser production team. Aided by Lucy Laurita’s seemingly infinite costume design, director James Cutler establishes an extraordinary number of distinct, memorable, engaging and affecting characters.

The simplified staging involves a raked wooden stage, with four string players, representing the ship’s steadfast band, nested in the upstage left corner. Set design is by Simon Coleman, Robbie Carmellotti and Cutler, and also includes sheer, gleaming blue fabric on three sides. Kai Mann-Robertson’s projections give an abstract, textured feel to the backdrop.

A set of wooden chairs is utilised creatively, but the choice to mime almost all other props is an odd and occasionally distracting choice.

Lighting, by Giancarlo Salamanca, pinpoints action most efficiently. The steely blue cold of night in act two is nicely contrasted with the occasional effect of flares overhead.

For a story that has been retold multiple times, an aspect that resonates powerfully in this musical version is the celebration of the joy of immigration. While the first class passengers enjoy the privilege their good fortune has afforded them and the second class aspire ever upwards, the third class passengers know they will continue in service but dream of a better life in America.

The opening sequence is as musically complex as Sondheim’s Into the Woods, with at last half a dozen tunes unfolding as the various passengers and crew arrive. The sophistication increases in the final sequence of act one, as various pairs of characters blossom and thrive on a chilly night with “No Moon.”

Musical director Kent Ross delivers an excellent performance of the rather epic score, with well-balanced harmonies and crisp instrumental accompaniment. Multiple effects from the keyboard partially compensate the absence of other instruments, but the ear quickly adjusts to the mostly stringed orchestrations and with the richness of the vocal parts, the music sounds pleasingly full bodied.

Cutler is at the height of his powers in act two, following the harrowing scene of the boarding of the lifeboats with an extended sequence of powerful quiet and stillness as three bereft men absorb the unavoidable imminence of their demise. Given music theatre’s clichéd dependence on colour and movement, this brave choice pays off mightily.

The only three actors to plays single roles, Don Winsor (obsessive designer Mr Andrews) Paul Batey (the well intentioned Captain) and Jon Sebastian (conceited owner Mr Ismay) form a solid core. The men share a strong scene in act two as they argue in vain as to who must shoulder “The Blame.” Winsor has a powerful role in the finale, vividly describing how the ship he designed will sink as he sings “Mr Andrews’ Vision.”

Each of the twenty talented performers shines in their featured moments, and the combined strength of the cast in ensemble scenes is even greater than the sum of their individual gifts.

Casey Withoos delightfully provides much needed comic relief as gushing celebrity-spotter Alice Beane. Harley Morrison is amusingly droll as her suffering husband Edgar Beane.

Greta Sherriff is all class as unselfconscious heiress Caroline Neville, speaking with a polished, graceful tone and singing with a strong, crystalline soprano. As Caroline’s upwardly mobile fiancé Charles Clarke, Sherriff is well supported by Matthew Hyde, who has a lovely pure tenor voice.

Barry Mitchell and Amanda Stevenson are gently endearing as devoted couple Isidor and Ida Straus, who reaffirm their deep abiding love in moving 11 o’clock duet “Still.”

Christopher Southall brings an abundance of quirky personality to the memorable role of snobbish First Class Steward Mr Etches. As dutiful radioman Harold Bride, Joel Granger sings with a beautiful pure tone. Adam di Martino impresses with his sprightly rendition of “Doing The Latest Rag.” Sam Bennett has a sturdy masculine presence as starry-eyed third class passenger Jim Farrell.

Music theatre lovers are strongly urged to make the most of this opportunity to see and enjoy Titanic the Musical.

Titanic the Musical plays at Chapel off Chapel, Melbourne until 24 July 2016.

Photos: Belinda Strodder

Michael Gow’s adaptation and direction enhance the whimsical delight of Mozart’s The Marriage of Figaro in Opera Australia’s highly accessible, thoroughly entertaining new touring production.

Once something of a distant relation, regional tours are now fully branded as Opera Australia productions, bringing the associated quality of not only excellent singers but also lavish costumes, well-constructed sets, live orchestra and glossy program. Far from a watered down experience, the regional tour offers extraordinary value for a unique, stimulating and satisfying musical experience.

The Marriage of Figaro is an inspired choice, given the abundance of truly beautiful music in Mozart’s beloved score and the delightful comedy of Beaumarchais’ colourful but recognisable characters. Retaining the glorious music while replacing the bulk of the recitative with snippets of spoken dialogue, Gow has given the opera the zip and verve of a greatest hits collection. The highly respectful adaptation takes no liberties to seek cheap laughs, simply allowing the natural comedy of the piece to work its magic.

Sung in English, the text may lose a little of its poetic shimmer, but the pristine diction brings a very worthwhile benefit in regard to accessibility. The familiar opera actually takes on more layers when all the vocal lines can be heard and understood so easily.

Gow’s direction creates an endearing set of distinct characters. The English lyrics and the relative intimacy of the venue make storytelling crystal clear, and humour to the twists and surprises along the way.

While the chamber orchestra of nine musicians feels somewhat exposed during the overture, conductor Paul Fitzsimon brings out a very nicely balanced sound once the singers are added to the music.

Giving the tour a tangible connection to each port of call, a local children’s choir, prepared by Josh van Konkelenberg, performs on stage as part of the action. Such is the transfixing charm of the children, the adult characters practically become invisible when the choir comes on for the first time. For the tour’s opening night in Dandenong, an adorable set of children from Wooranna Park Primary School performed and sang with polish and flair.

Bringing to mind the treasured rooms that are secreted way in many a convent school, Robert Kemp’s design presents a palace room painted from floor to ceiling with an idyllic, verdant landscape. Kemp draws from a muted Mediterranean palette for the ensemble costumes, enhancing the principal costumes with highly theatrical splashes of colour.

Lighting designer Matt Scott makes good use of footlights to create a nostalgic feel. Scott bathes the set in green light to create act four’s garden setting, making beautiful use of shadow through the scrim to allow Susanna to hold hands with the hidden Figaro early in the garden scene.

Fast rising bass Jeremy Kleeman makes his Opera Australia debut as Figaro, a role that is surely the first of a great many engagements with the company. A versatile and charismatic performer, Kleeman is reliably nimble and expressive in the role.

Celeste Lazarenko is entirely believable as dear Susanna, conveying the character’s infinite patience and crafty intelligence, and singing with particularly dulcet tones.

Olivia Cranwell brings a polished presence and a lovely clear, pure soprano as the Countess. Lit in a chilly evening blue, Cranwell’s heartfelt performance of reflective aria “Where are they, the beautiful moments” is the most affecting moment of the evening. Lucas de Jong handles the vocals of Count Almaviva with agility, enhancing the comedy with a serious countenance.

Kristen Leich, as the vainly conceited Marcellina, and Steven Gallop, as her supporter and suitor Bartolo, are amusingly droll. Gallop, in particular, is having a very strong year and his presence here is quality casting.

Agnes Sarkis scores many laughs as the ardent Cherubino, and sings the classic aria “You ladies know what love is” with a sweetly polished tone.

In powdered wig and brightly rouged cheeks, Brad Cooper proves there are no small roles as the foppish dandy Don Basilio.

With its eminently hummable music and multitude of laugh out loud moments, it is hard to imagine any audience not enjoying The Marriage of Figaro. Audience members lucky enough to have a visit from the tour are strongly encouraged to take advantage of this ideal opportunity to enjoy a wonderful night of theatre.

The Marriage of Figaro plays selected dates and venues across Victoria, New South Wales, ACT and Tasmania throughout July, August and September 2016. Further dates and states will follow in 2017.

Photos: Albert Comper

(Note: the roles of Figaro, Susanna, Count Almaviva and Countess Almaviva are double cast. Photos in the review show Simon Meadows as Count Almaviva and Emma Castelli as Countess Almaviva)

Victorian Opera, in partnership with Victorian Arts Centre, continues their quest to introduce children to opera with a neatly edited, attractively staged production of Massenet’s Cinderella (Cendrillon).

With a brisk running time of 50 minutes, and gorgeous sets and costumes to enjoy, the opera is accessible and entertaining for children of all ages. Man in Chair took along Miss Five, who sat in wide-eyed wonder with neither a wriggle nor a word.

To provide an authentic opera experience, the libretto is sung in French and there is a generously sized live orchestra of 14 musicians. Conductor Phoebe Briggs prepared the young musicians with her usual meticulous care, and the music sounded splendid.

Rather than overwhelm young readers with an onslaught of surtitles, a simple sentence describes the spirit of each aria or musical moment. Miss Five, a dedicated Cinderella expert, followed the story with ease, her imagination clearly activated by the music and performances.

While the use of French does keep the work authentic, an English libretto may have increased the accessibility of the work. There was a sentence or two sung in English at the end, and the difference in reception from the young audience for that moment was discernible.

Candice MacAllister’s excellent designs give the production a polished, highly attractive look. Vivid reds, green and purples link the storybook scenic design with the costumes of the wicked stepmother and daughters. With the help of the golden-winged Fairy Godmother, Cendrillon changes from humble rags to a lovely flowing gown of baby blue. Prince Charming is equally smartly attired in cream frock coat and regal blue sash.

Continuing the genuine experience, each of the eleven cast members is a highly talented emerging artist of considerable note. This streamlined version of the opera shares the singing evenly between all performers, and the well-matched artistic gifts of these singers makes it difficult to select highlights.

The full cast is as follows:

Lucette/Cendrillon: Kate Amos

The King/Ensemble: Nathan Lay

Hairdresser/Ensemble: Elizabeth Barrow

Dressmaker/Ensemble: Kirilie Blythman

Herald/Ensemble: Michael Petruccelli

Pandolfe: Daniel Carison

Madame de la Haltière: Fleuranne Brockway

Noémie: Cristina Russo

Dorethée: Shakira Tsindos

Fairy Godmother: Michelle McCarthy

Prince Charming: Carlos E. Bárcenas

Both the talent and the audience of tomorrow are well catered for with the quality of Cinderella.

Cinderella was performed three times at Playhouse, Arts Centre Melbourne on Saturday 16 July 2016. Schools performances were given on Friday 15 July, with more to come on Monday 18 July.

Photos: Charlie Kinross

Caroline O’Connor is the Greatest Star in The Production Company’s sensational new staging of legendary Broadway classic Funny Girl, a lavish production lifted to heights of greatness by the supreme confidence and vision of Gale Edwards’ direction.

Returning to the role she played for The Production Company in their very first year back in 1999, O’Connor is a whirling dynamo of emotion, song and dance, barely pausing for breath as she hurtles through the massive role with charismatic flair.

A memory play on the life of vaudeville and revue comedienne Fanny Brice, Funny Girl begins with the well heeled but melancholy Brice pondering her reflection as she sits backstage. O’Connor’s Brice blossoms from ambitious teen to breakout comic star to fully fledged stage star, with a journey from wide-eyed lover to blindly devoted wife and adoring mother along the way.

In a dazzlingly polished performance, O’Connor nails the comedy, dances the role with ease and bring a myriad of nuanced details to the supremely endearing characterisation. Above all other talents, O’Connor’s singing voice is in extraordinary shape, and has arguably never sounded better as she flips from belting to bell-like soprano to highly expressive chest voice and back again.

O’Connor’s portrayal of Fanny’s journey is aided by a stunning series of costumes from not one but two top costume designers: Tim Chappel and Owen Phillips. Fanny’s rise is charted from bloomers to witty stage outfits to increasingly sophisticated silken gowns and furs, with highlights including the gorgeous teal blue ensemble for her first big date with Nick Arnstein, and her red-trimmed, vivid blue high waisted skirt and hat for the act one finale.

Chappel and Phillips separate supporting characters in distinctive costumes, such as dance coach Eddie Ryan’s bright red suit and Ziegfeld’s fur trimmed coat. The ensemble’s act two move to flapper fashions shows the progression of time, and the company costumes for the Ziegfeld Follies numbers are impressively lavish.

The visual splendour continues with Shaun Gurton’s simple but large scale set design and Trudy Dalgleish’s truly beautiful lighting design. Placing the orchestra in the centre keeps them in view when the iris of curtains comes in for the relative modesty of Keeney’s Music Hall. The transition to Ziegfeld’s Follies includes a glossy silver ruched curtain and giant chandelier. Dalgleish paints the space with colour, also embedding countless bud lights in the set and programming a multi-coloured twinkling star cloth.

Director Edwards really knows how to use the space, filling two levels and two staircases with action and colour. The massive space of the State Theatre stage means that the show is probably grander than it could be in a regular commercial staging. It must be about ten times bigger than the acclaimed Funny Girl at recently seen at London’s Menier Chocolate Factory. Edwards keeps the action slightly larger than life and yet still grounded in earthy humanity. The lively supporting characters are clearly drawn, and the balance of blustery humour, gentle romance and occasional pathos makes for an involving and entertaining evening.

In her first engagement with The Production Company, choreographer Kelley Abbey slips straight into the streamlined short rehearsal model, creating beautifully integrated choreography that is as sharply performed as it is wittily conceived. Abbey makes a significant contribution to the terrific use of space, filling every inch of the stage with swirling dancers in “Henry Street,” and majestically parading dancers up stairs and down in the Ziegfeld Follies numbers.

In the absence of Orchestra Victoria, The Production Company has taken the confident step of creating their own orchestra. Helmed, in its first outing, by musical director Anthony Gabriele, the 26-piece orchestra for Funny Girl sounds absolutely superb. In a sign of their enjoyment of the music, the opening night audience sat down again after the standing ovation to listen to the playout music.

In another Production Company first, popular tenor David Hobson plays Nick Arnstein, he of the frilly shirt and incurable penchant for gambling. Looking dapper and fresh, Hobson cuts a fine figure as the romantic rogue, taking him from foppish lad to world-weary sophisticate. Hobson’s attractive singing voice is reliably strong, and he proves a suave, grounded leading man as O’Connor plays out Fanny’s breathless babble.

Inestimable stage treasure Nancye Hayes brings indefatigable gusto to Fanny’s mother Mrs Brice. Susan-Ann Walker steals many a scene as colourful opinionated neighbor Mrs Strakosh. Accomplished casting director Jan Russ makes a welcome return to the stage as Fanny’s loyal assistant Emma.

David Ross Patterson captures the plummy tones and powerful presence of masterful producer Florenz Ziegfeld. Luke Alleva maintains a sprightly sense of energy and verve as Eddie Ryan.

Special mention to Blake Appelqvist and Daniel Assetta for their gorgeous tenor voices in “His Love Makes Me Beautiful.” These handsome men are both notably sharp dancers as well. Future roles with higher profiles are confidently forecast.

For all its achievements in music and design, the chief attraction of Funny Girl is the unmissable chance to see Caroline O’Connor, extraordinary star of the world stage, at her very best.

footnote: A very special thank you to Frank van Straten OAM for his informative and entertaining program articles over the past 17 years. Van Straten’s incredible background knowledge on Australian and international productions of the musicals presented by The Production Company will be greatly missed.

Funny Girl plays at State Theatre, Arts Centre Melbourne until 31 July 2016.

Photos: Jeff Busby

Frolicking on stage with lighthearted abandon, charismatic superstar tenor Roberto Alagna set aside his operatic repertoire for an evening of Neapolitan songs.

The capacity Melbourne audience greeted Alagna with enthusiasm, and was entertained by Alagna’s sparkling stage presence and wonderful voice. The choice of songs made for pleasant listening, but the distinct lack of operatic repertoire resulted in an underwhelming evening for concertgoers attracted by Alagna’s primary fame in the opera arena.

Constantly in demand in the world’s very best opera houses, it seems unthinkable that Alagna would tour to Australia and not perform a single operatic aria. Operatic appetites were whetted when the evening began with a lush rendition of Rossini’s famed overture for Il barbiere di Siviglia, followed by a lively extended duet from the end of act one of Donizetti’s “L’Elisir d’Amore.” Alagna’s magnetic stage presence was clearly on show as he acted the role of Nemorino, substituting a bottle of wine for the Elixir. Guest artist soprano Siobhan Stagg was a lovely Adina in this sequence.

Two further instrumental interludes were played: the Intermezzo from Mascagni’s Cavalleria Rusticana and the thrilling overture from Verdi’s La forza del destino. The sole opera aria came in the second half of the program when Stagg sang the Puccini favourite “O mio babbino caro.”

Stagg has a pure, clear soprano, which fared better in solo singing due to the relative power of Alagna’s tenor. Stagg proved a good sport in sharing the spotlight with spirited, effervescent performer Alagna. Stagg wore a cream dress with grey and purple diagonal stripes in the first half, later changing to a glittering gown of metallic silver sequins.

Looking fit and trim, Alagna wore a long formal black coat, switching from a black shirt to a more relaxed black t-shirt in the second half of the concert. His usually wavy hair cropped to a shorter style, Alagna looked distinguished yet still eternally youthful.

While operatic repertoire may have served to illustrate the full depth of Alagna’s talent, it was nonetheless impressive to hear the quality of his technique and the well-preserved nature of his vocal range. The timbre of Alagna’s voice has a unique forward positioning that creates an exciting and affecting sound. Although Alagna’s charm shone through, a few spoken words of English may have warmed the audience even more.

Fortunately, the quality musicians of the Australian Sinfonietta were able to hold the music together beautifully at times when stage action distracted conductor Stefano Miceli. Very fine playing was heard in particular from the strings.

Despite the stage being full of quality musicians, Alagna performed half a dozen or so songs with piano accompaniment from Giovanni Turcio. A highlight of the piano-accompanied songs was the opportunity for Alagna to demonstrate the restraint and control that allow his voice to take on a sensitive, highly romantic quality.

Staging for the concert included vertical coloured light strips hanging overhead. These added some visual interest, but the effort could have been spent including some serious moments of dramatic impact on stage.

There was a festive, forgiving atmosphere during the encores, yet it must be noted that proceedings went slightly askew when Alagna had to scurry across stage to tell pianist Turcio that he had started playing the wrong song, and then a reprise of “Funiculì, Funiculà” went significantly out of time between singers and orchestra.

Alagna’s vocal mastery and charming presence shone on this night of popular song.

Roberto Alagna performed at Hamer Hall, Arts Centre Melbourne on Wednesday 27 July 2016. He plays a concert in Brisbane on 30 July 2016.

Man in Chair has reviewed Roberto Alagna in:

Werther at Paris Opera

Carmen at Royal Opera

Madama Butterfly at Bavarian State Opera

Recital at Vienna State Opera

Photos: Jodie Hutchinson

Prolific producers of new work, Victorian Opera again caters for family audiences with The Pied Piper, an original composition by Artistic Director Richard Mills.

As a contemporary opera sung in English, The Pied Piper is a well-chosen companion piece for the French-sung reduction of Massenet’s Cinderella (Cendrillon), staged just two short weeks ago. The thought of children attending the theatre and learning to appreciate the classical voices, live orchestra and stylised story telling of opera is too exciting for words.

Beautifully produced, the opera again features the attractive set and costume designs of Candice MacAllister. Production values are high, with sturdy scenic elements and a beautifully painted Australian landscape backdrop. Costumes are colourful, with animal characters cutely suggested by their headwear. The large ensemble has clearly brought along their own clothes, and the selections fit into an attractive colour palette of shades of blue.

Joseph Mercurio’s lighting design adds to the visual appeal. When the lights start flashing red and rats start crawling across the stage, wide-eyed children sit up and pay attention.

The extra element that sets this season apart is that the production will tour Victoria, with significant community involvement along the way. The highly focused Melbourne cast features 30 children, playing enthusiastic school children and creepy crawly rats, and 45 adults of all ages. The massed vocals have a polished, appealing sound; indeed, Mills’ finest musical sequences involve the full company singing contrasting vocal lines with choral accompaniment.

Conductor Simon Bruckard leads an orchestra of seven musicians in a well rehearsed and prepared performance that belies the brand new nature of the work. Another highlight of Mills’ music is the lovely flute passages, which the Piper mimes on stage with his outsized pipe.

Director Derek Taylor keeps the storytelling crystal clear and makes excellent use of the space in arranging some 82 cast members. In terms of the sort of lively energy needed for compelling children’s theatre, Taylor is somewhat hamstrung by the rather solemn nature of Mills’ work. This style worked magnificently in the gorgeous Christmas pageant The Play of Herod but tends to work against a sweet, colourful tale such as The Pied Piper.

An element that always engages young viewers is the inclusion of a villain, and The Pied Piper is well served by the gleefully avaricious pair of Mr and Mrs Mayor. In one of his last Australian appearances before commencing a year of training at the Wales International Academy of Voice, outstanding baritone Nathan Lay delivers another expertly judged, splendidly sung performance as Mr Mayor. Fleuranne Brockway is a delightful comic partner as Mrs Mayor.

Positioned in the middle of the Children’s chorus, Lisha Ooi does an excellent job of leading the singing while still blending in with her young co-stars. As General Rat. Ooi’s voice shines through beautifully.

In a witty touch, Carlos E. Bárcenas brings a touch of the exotic to the Pied Piper by singing in his native Colombian. Bárcenas’ imposing stature adds to the impact of the title character. In a delightful performance that is perfectly pitched to the young audience, Stephanie John plays the Piper’s Cat, who translates his words for the town.

Jacob Lawrence, so memorable last year as The Grumpiest Boy in the World, has a solid presence in the small but narratively significant role of the Town Crier. Sopranos Kirilie Blythman, as popular sweet seller Beatrice Brittle, and Elizabeth Barrow, as wise teacher Rosemary Sprig, complete the quality cast of developing artists.

The Pied Piper does not reach the heights of The Magic Pudding, which remains the gold standard of Victorian Opera’s recent output of original children’s operas (followed quite closely by The Grumpiest Boy in the World), but it is a pleasant, accessible piece that continues the fine tradition of introducing children to the world of opera.

The Pied Piper plays again at Playhouse, Arts Centre Melbourne on 30 July 2016 before touring to Port Fairy, Mildura, Warragul, Bendigo, Shepparton and Albury/Wodonga.

Photos: supplied

Back to charm a new generation of theatregoers, Avenue Q is as tuneful, hilarious and relevant as ever in this confidently staged revival production.

Almost a revue, Avenue Q has a loose narrative structure centred on new arrival Princeton’s journey to find his Purpose. Jeff Whitty’s economical book keeps Jeff Marx and Robert Lopez’s supremely hummable songs coming thick and fast. Amidst the laughter, the audience is unwittingly drawn into the characters’ lives so that the more emotional songs and moments land with a heartfelt meaning.

An aspect that is of increased poignancy at this time is the concept of a race/creed of people all being judged and condemned by the extreme actions of a few.

Of principal attraction in this new season is the quality of the singing. Having seen Avenue Q in Broadway, London and Melbourne (2009), this is surely the most beautifully sung performance of the show I have experienced. Musical director Trevor Jones sets aside the nasal Broadway belt sound to bring out a gentle, unforced vocal quality that is really lovely to hear.

Director Peter J Snee matches the attractive vocal tones with nicely unforced performances, avoiding the temptation to go for larger than life caricatures. Energy remains high, but is channeled and focused into the intricacy of playing multiple characters with distinction. While broad humour can gain easy laughs, the subtler playing style on show is far more effective for landing the affecting emotional moments.

Robert Lewis contributes some nifty, natural choreography that adds to the entertainment level.

John Kerr’s streamlined set design keeps the original look and a good number of the hidden tricks. Costume design, by Nathan Alexander, keeps the puppeteers in neutral grey and black while the “human” characters are dressed in bright colours. Jason Bovaird’s lighting design brings an ever-changing rainbow of colour to the single set show, creating plenty of visual appeal.

Ross Hannaford gives a remarkably strong performance in the dual roles of restless college graduate Princeton and uptight, closeted banker Rod. Hannaford’s singing voice as Princeton is gorgeous, and he contrasts this strongly with a completely different sound for Rod.

Likewise, rising star Sophie Wright provides a sweet, unaffected voice for idealistic kindergarten teacher Kate Monster and a sultry, vampish tone for nightclub singer Lucy the Slut. Both Hannaford and Wright are called upon to voice both of their characters on stage at the same time. To watch them maintain the action of one puppet character while voicing the other is astounding.

Vincent Hooper is another highly talented player in the ensemble cast of nine. Hooper not only voices slacker Nicky and cranky, porn-obsessed Trekkie Monster but also joins the delightful Lulu McClatchy  as the fiendishly adorable Bad Idea Bears. Hooper also has to flip between voices while on stage maintaining the puppetry of one of the characters; like Hannaford and Wright he achieves this flawlessly.  McClatchy scores further laughs as cantankerous biddy Mrs Thistletwat.

Sun Park keeps the characterisation of Christmas Eve well clear of racist stereotyping by being clearly in on the joke herself. Park’s breakout vocals in comic torch song “The More You Ruv Someone” are stunning. Andrew Hondromatidis conveys the genial good will of unflustered fiancé Brian. Zuleika Khan has sparkling charisma to spare as friendly building superintendent Gary Coleman.

For a return visit or a wonderful initiation, this all too brief season of Avenue Q is appealing entertainment and solid value.

Avenue Q plays at Her Majesty’s Theatre, Melbourne until 14 August 2016.

Photos: Nicole Riseley

Leaders in arts innovation, Victorian Opera delivers ingeniously conceived new program Laughter and Tears, the entertainment value of which is significantly enhanced by a fruitful collaboration with Circus Oz.

Separated from its long-term performance partner Cavalleria rusticana, Leoncavallo’s concise dramatic opera Pagliacci provides the evening’s tears. Taking inspiration from the show-within-a-show of Pagliacci, Victorian Opera’s artistic director Richard Mills has crafted a light-hearted opening act that delivers the laughter.

The conceit of the scenario is that the two acts are set either side of World War II. Pagliacci’s famous final line “La commedia è finita!” is borrowed to end act one, when the outbreak of war interrupts the carefree lives of the players who are rehearsing their commedia dell’arte production. Pagliacci follows on seamlessly in the second half as the local villagers regroup and the theatre troupe rebuilds their company. 

In a further stroke of synergistic ingenuity, Mills has utilised the music of a dozen or so composers whose work was originally inspired by the ongoing popularity of commedia dell’arte in the sixteenth and seventeenth centuries. Richly re-orchestrated by Mills, and played by a sizable contingent of Orchestra Victoria in the Palais Theatre’s large open pit, the music sounds magnificent.

The madcap zannis are played by with highly physical flair by Kate Fryer, Geoff Dunstan, DJ Garner and Luke Taylor, with Tim Coldwell as doddering fool Capitano. As well as delivering plenty of visual slapstick humour, these performers from Circus Oz also perform gravity-defying stunts that are neatly tied in to the narrative action. When Dunstan swings high overhead as star soprano Elvira Fatykhova sings Nedda’s birdsong “Stridono lassù,” it is a thrilling highlight of the evening.

Director Emil Wolk keeps the comedy broad and the energy high. Storytelling is clear, and the shift in tone to jealous drama in the second half is convincingly achieved. The collaboration between performers is seen in sequences such as when Arlecchino, played by tenor Michael Petruccelli, tries to vain to get up to the balcony with the futile help of the zannis. Fatykhova also proves a good sport in swapping costumes with Fryer in a bid to fool Colombina’s keeper.

Set design by Julie Nelson is on a large scale but is still relatively simple in keeping with the modest context of the characters. The fire damage to part of the set after the war is a detail that might not be fully absorbed by the audience. The abundance of smoothly hinged trap doors indicates a high level of consultation with Circus Oz.

Eduard Ingles-Sancho’s lighting design includes a range of lush, atmospheric colours for the rear cyclorama.

Costume designer Harriet Oxley achieves particular success in dressing the large number of chorus members in individual yet well-matched 1940s outfits. Lead characters stand out distinctly, especially female lead Nedda who wears vibrant red in both acts.

Rosario La Spina is in superb voice as tragic clown Canio. His “Vesti la giubba,” performed in front of the Palais’ sumptuous red velvet curtain, is brightly sung yet darkly coloured. La Spina’s vocal strength is characterised by a powerful level of control that allows a full, open sound of unwavering focus. La Spina’s commanding voice also has a unique warmth that adds to the pleasure of hearing him sing. 

Russian soprano Fatykhova, a frequent performer on the Australian stage, tempers her girlish beauty with a high level of maturity and experience. Fatykhova’s role debut as Nedda features the sweet nightingale tones of her soprano voice, which add to the vulnerability of the ill-fated character.

Petruccelli sings with a bright clear tone in the dual roles of performer Beppe and his stage character Arlecchino. A versatile and confident performer, Petruccelli proves completely unflustered in maintaining his lovely singing while taking part in physical comedy. His handsome looks often covered with a mask, Petruccelli still conveys a charismatic stage presence.

James Clayton, reportedly nursing a cold yet sounding strong and vital, makes a strong impact as insidious villain Tonio. Fabio Capitanucci provides solid support as Nedda’s lover Silvio.

Talented young singers Kate Amos, Daniel Carison, Michelle McCarthy and Shakira Tsindos join Petruccelli as wobbly minstrels trying to stay on track in the chaos of act one.

The Victorian Opera Chorus, featuring many singers seen elsewhere in lead roles, achieves a notably high quality in their singing.

Laughter and Tears achieves the rare balancing act of providing enough opera content for purists and enough entertainment value to captivate theatregoers of all ages and interests.

Laughter and Tears plays selected dates at Palais Theatre, Melbourne until 18 August 2016.

The Laughter and Tears program can be read online.

Photos: Jeff Busby

Melbourne Opera makes a quantum leap in scale of production, crossing Collins St to present a majestic, immensely satisfying production of Tannhäuser at the Regent Theatre.

Achieving a synergistic if-you-build-it they-will-come vibe, this second performance of Tannhäuser was extremely well attended, surely coming close to the 1300-strong audience at Sunday’s premiere. The ranks of Melbourne Opera’s followers have clearly been swelled by fellow opera lovers keen to experience Wagner’s epic romantic drama in its first Melbourne appearance in over 20 years.

Free from the clutter of overladen commercial-scale lighting bars, the Regent’s gilded proscenium arch makes a majestic frame for the handsome production.

As the glorious music flows and crescendos, the sound is matched visually with the beginning of Zoe Scoglio’s stunning video projections. Crashing waves ebb and flow in a hypnotically symmetrical design, all the more beautiful for the realistic, rather than computer-animated, look. The waves slowly give way to Venus’ cave, erotically created from an overlapping multitude of female forms. Act two’s Hall of Song is a gleaming static image that matches the Regent’s interior beautifully.

Set designer Christina Logan-Bell provides a streamlined canvas for the projections, providing striking depth with circular edges framing the backdrop. Elegant ramps and stairs are painted in attractive faux marble designs, and the major stage platform has rear stairs that allow for dramatic entrances and exits.

Director Suzanne Chaundy shows a clear and confident vision for the vast scale of the opera, maintaining interest throughout the long scenes with engaging business and passionate energy from the singers. Away from the cramped wings of the Athenaeum, the ensemble has the space to come and go freely. Chaundy fills the stage with singers, give them purpose and presence.

While the principals sing in German, the chorus sings in English, expertly prepared, as ever, by Raymond Lawrence.

Guest conductor David Kram presides over more than 50 players in the Melbourne Opera Orchestra, producing a fine sound that benefits from the acoustic quality of the auditorium.

Costume designer Daniel Harvey initially dresses the chorus in neutral pastoral shades as noble pilgrims. The company sparkles jewel-toned gowns and dinner suits in act two, all adorned with matching gold sashes.

Lighting the stage is deceptively difficult in the presence of projections, but Lucy Birkinshaw bathes the downstage area in warm overhead and side light, allowing the projected images to be seen in sharp clarity.

With steely presence to spare, Romanian tenor Marius Vlad is sensational in the title role, singing with a tireless, heroic tone.

Lee Abrahmsen is in full goddess mode as Princess Elizabeth, looking a million dollars in golden gown and blonde curls. This decadent look is contrasted with a humbler calico smock and ruffled hair as the heartbroken Elizabeth appears near death in act three. Abrahmsen’s voluptuous soprano sounds glorious in the space, and she creates a sympathetic, vulnerable character beneath all the glamour.

Soprano Sarah Sweeting sizzles as seductive siren Venus. Manfred Pohlenz brings expertly measured authority to the role of Wolfram.

A strong lineup of Melbourne Opera regulars delivers solid support, including impressive featured moments from Eddie Muliaumaseali’i, Michael Lampard and Jason Wasley.

The combination of strategic stage positioning, crisp, well-matched costumes, rich, midnight blue lighting and glorious vocals results in a stirring, highly memorable conclusion to this wonderfully realised production.

Tannhäuser plays again on 20 August 2016 at Regent Theatre, Melbourne, followed by a performance on 28 August 2016 at Robert Blackwood Hall, Monash University.

Photos: Robin J. Halls

Brimming with toe tapping tunes and laugh-out-loud puns and punchlines, the Australian professional premiere of Curtains is a fresh, welcome entry to the 2016 Melbourne music theatre season.

Imagine a cross between Murder, She Wrote and Smash and you have the basic idea of backstage murder mystery musical, Curtains. Rupert Holmes’ book derives much humour from the self-important vanity of various music theatre types, placing a large company of actors and creatives in lockdown when the untalented leading lady of show-within-a-show Robbin’ Hood is (somewhat mercifully) murdered.

Premiering on Broadway in 2007, Curtains had a respectable run of over 500 performances but failed to inspire the kind of success that leads to a production in the West End and beyond. In a limited season playing to music theatre lovers, the show is an ideal choice for The Production Company.

Kander and Ebb’s score provides splashy production numbers, gentle ballads and comical charm songs, all easy hummable on first listen. By rights, “Show People” should be a popular anthem on par with “There’s No Business Like Show Business.” The writers shoot some well-aimed barbs at critics in “What Kind of Man?” Robbin’ Hood numbers poke delicious fun at Oklahoma! and other early Golden Age musicals. Most delightful of all is “In The Same Boat,” which is heard in three incarnations throughout the show before reaching a glorious climactic punchline when all the versions are sung simultaneously. 

Director Rodger Hodgman has done a sterling job of establishing the menagerie of characters and landing the comedy during the relatively brief rehearsal period. When there is time to add a gay love triangle within the male chorus it is clear that rehearsals have run smoothly. There is a slight overload of dialogue as the whodunit is finally solved, but comic momentum is well sustained over the 165 minute running time (including interval).

Dana Jolly contributes witty choreography that is gently blended into the action. Musical director John Foreman not only conducts the expertly prepared musicians and singers but also plays vital role of conductor Sasha Iljinsky, delivering some lovely vocals at the top of act two.

Christina Smith’s set design is occasionally underdone as a sea of black, but is offset by full, colourful sets for Robbin’ Hood and a large set of rich red curtains for the Boston Theatre where the show is enduring its out-of-town tryout. Esther Marie Hayes’ vibrant costumes clearly establish and maintain the wide range of characters. Untalented diva Jessica Cranshaw’s hot pink wig and sequined satin gown are wickedly garish, and the bloomers on the Robbin’ Hood girls are too perfect.

Filling David Hyde Pierce’s Tony Award-winning role of Lieutenant Frank Cioffi, Simon Gleeson delivers an expertly realised characterisation that is as magnetically compelling as it is neatly understated. Gleeson nails the high-toned Boston accent and scores many a well-earned laugh as Cioffi’s obsession with fixing the show increasingly outstrips his interest in the solving the murders. All this, plus he dances treble time-steps.

Stalwart veteran Melissa Langton, a long-time supporting artist, shines in a well-deserved leading role that plays to her strengths of ballsy comedy and vocal belting. When driven producer Carmen Bernstein finally shows a softer side, Langton makes the most of the chance to balance her vocals with some truly lovely softer singing.

Alinta Chidzey is a delight as doe-eyed ingénue Niki Harris, maintaining a glowing, charming presence that underpins the character’s fascination to men. Chidzey joins Gleeson in dreamy dance number “A Tough Act to Follow,” in which both performers exhibit bright,  breezy flair.

Charming actor Alex Rathgeber makes a welcome return to The Production Company as one half of writing team Aaron Fox and Georgia Hendricks. Talented actress Lucy Maunder is well cast as Georgia, giving the character a gorgeous blonde look and singing the role beautifully.

Zoe Coppinger makes a splash in the ditzy role of ambitious chorine Bambi Bernét, performing with infectious energy. Coppinger’s singing in the role is very strong, although her dancing is not quite at the level to make the extended solo in “Kansasland” as effective as it should be.

The well-written role of conceited director Christopher Belling scores many laughs, despite Colin Lane’s dull performance and awful, wandering, faintly British/Australian accent.

Nicki Wendt is a scream as clueless, ill-fated diva Jessica, setting the comic standard very high with her choice cameo role as the show opens.

All music theatre lovers are sure to enjoy Curtains. Attendance is especially recommended for those who are clamour for new work amidst the ongoing abundance of revivals.

Curtains plays at State Theatre, Arts Centre Melbourne until 28 August 2016.

Photos: Christopher Parker

An all new touring production of provocative 2013 MTC hit The Beast wraps shocking behaviour in laugh out loud comedy.

A commercial transfer of an original play that began its life in the subsidised theatre sector is a commonplace occurrence in the West End, but is all too rare in Australia. While this a completely new production rather a direct transfer, it may very well be no coincidence that The Beast is one of three recent examples all helmed by the same director. Simon Phillips’ inventive staging of North by Northwest transferred earlier this year, and warmly nostalgic new musical Ladies in Black will tour early next year.

Written by Eddie Perfect, The Beast is a smart contemporary comedy that is set apart by the central rather gruesome scene involving the titular Beast. Bonded by a trauma the husbands survived, three couples enjoy a semi-rural tree change before they take the back-to-basics angle too far and spontaneously decide to kill their own dinner. The outrageous impact of the blood-splattered slaughter scene is as viscerally shocking as many of the did-they-really-just-say-that clangers of the boundary-pushing, decidedly non-PC script.

Perfect creates six distinct, involving characters whose recognisable quirks and foibles shine through even as the comedy becomes more outlandish. Intriguing hints are dropped about the outcome of the ill-fated boat trip seen in the prologue, before the truth, and a host of other secrets, comes out in the final scene. The weight of a couple of the shocks is reduced due to the sheer number of revelations and the comic tone, but the final outpouring of the complete litany of sins is very satisfying to watch.

The blackness of Perfect’s comedy is deepened by his embrace of unlikeable character traits. Simon (Rohan Nichol) is a particularly unsavoury creep, conceitedly confident in his obnoxious, boorish manner. He is the exactly type to have married a trophy wife with no thought of her personality only to socially suffocate her into needing therapy and pills. We all like to see a bully receive their comeuppance, and Simon is satisfyingly taken down a peg or three.

Each of the characters has their prejudices and their weaknesses, and the combination of Perfect’s brisk writing style and Phillips’ broad, confident direction sets these up quickly and clearly. After the climactic action at the end of act one, the pace flags a little through act two, especially in in the extended sequence about wine, but the intensity of the finale regains momentum. 

The characters pay a great deal of lip service to the embrace of their new lifestyles, a point Dale Ferguson highlights with the sleek modern minimalist interior designs of the country properties. Painting the verdant outlooks on ruched curtains is a clever touch, giving a richer, more ambient look than flat painted backdrops would have achieved. Ferguson’s costumes also include the kind of impractical, urban outfits that are hard for former city dwellers to shed.

The design of the calf puppet is extraordinary, both for its lifelike personality while feeding and for its capacity to violently expel bodily fluids while being slaughtered.

Nichol is unafraid to portray the blatantly obnoxious aspects of Simon, creating a character of arrogant bravado who simply believes his actions are right. Scoring many a laugh with her deliciously plummy tones, Christie Whelan Browne projects the fragile self-esteem of a beautiful woman who has been made to feel unworthy.

Alison Bell brings a brooding, often inscrutable energy to Marge, a proud woman damaged by recent life choices and frustrated by the manifestation of her husband’s PTSD. Perfect hides Baird’s scars under his direct manner and gravelly voice, gently gaining sympathy whenever the character’s less than privileged upbringing is mentioned.

Toby Truslove conveys Rob’s internal anxiety with a slightly high-pitched voice and subtly nervous manner. Heidi Arena veers toward overplaying the comedy, often setting a manic energy level for warmhearted, if highly judgmental, Sue.

Peter Houghton deftly plays four characters, achieving an impressive on-stage change back and forth in the climactic flashback to the life-changing fishing trip.

Given the frequent domination of family entertainment at the theatre, The Beast is a uniquely adults only treat.

The Beast plays at Comedy Theatre, Melbourne until 10 September 2016

Photos: Ken Nakanishi

A talented cast and a handsome production partially compensate for an utterly pedestrian stage adaptation of Jules Verne’s Around The World In 80 Days. 

Adapted in many forms in the decades since its 1873 publication, Jules Verne’s Around The World In 80 Days comes to the stage in the style of The 39 Steps, with a multitude of characters played by only three actors and a range of exotic locations suggested by use of props. While the occasional fast costume change or breaking of the fourth wall provides a few laughs, Toby Hulse’s script is bogged down in tedious exposition without a hint of intrigue or subtext. As the days of the trip are counted off, it just serves as a reminder of how long still remains in the plodding journey.

London gentleman Phileas Fogg (Ian Stenlake) randomly decides to test the theory that one can travel around the world in 80 days, placing an exorbitant bet on the outcome with some fellows at the club. Aided by honest assistant Passepartout (Pia Miranda) and pursued by Javert-lite detective Inspector Fix (Grant Piro), Phileas completes the journey, simply bribing his way out of any challenging situations.

Director Terence O’Connell maintains a pleasant atmosphere, having the cast play their roles with merry sparkle. The story and the collection of characters are clear, but the tedious script works against the talents of all involved in terms of ever achieving any kind of momentum.

Merinda Backway’s scenic art is an attractive collage of cogs, pipes, clocks and maps, representing both the Industrial Age setting of the story and the prevalent theme of the unstoppable passage of time. Clamshell footlights also suggest a Victorian music hall setting, which is complemented by cross-dressing as the cast works their way through the full range of characters.

Ever-creative lighting designer Jason Bovaird creates intricate effects with pinpoint accuracy, also bathing the rear cyclorama in rich, atmospheric colour. Sound design, by Dave Ellis, works in close combination with lighting to create many special effects that help to tell the story. Scenes are also punctuated with Ellis’ appealing compositions. Top marks to Michael “Mush” Brasser’s precise work as stage manager.

Equally attractive is Lucy Wilkins’ costume design, which features smartly tailored period costumes. Piro’s costume when he plays Indian beauty Aouda is both gorgeous and amusing. Very special mention goes to Lauren Ritchie for creating the extraordinary collection of beautifully decorated hats, which are one of the key elements that signify changes of character.

Stenlake fits the bill as the handsome gentleman with very good teeth, projecting a dashing sense of adventure and a charming manner.

Pia Miranda deftly switches hats and characters with a knowing wink, performing each of her roles with a lovely stage presence.

Grant Piro switches accents and body language with flair as he moves between roles, working a vaudevillian energy that is well suited to the performance style of the show.

Reasonably priced tickets make Around The World In 80 Days a good value proposition.

Around the World In 80 Days plays at Alex Theatre, Melbourne until 4 September 2016. It then tours to Geelong, Mooroolbark and Nunawading.

Photos: James Terry

Bone shakingly loud and blindingly bright, We Will Rock You retains, and revels in, its rock concert vibe in this updated Australian revival.

Introducing a new generation of stars, We Will Rock You is most notable for its superb recreation of Queen’s greatest hits, which have been shoehorned into a broad apocalyptic comedy by Ben Elton.

Directing his own material, Elton keeps energy sky high, making no pretense of subtlety or nuance. Dialogue scenes, which feature a wandering collection of accents, are at a pantomime level of broadness. If the idea is to attract and entertain those who do not usually attend musicals, there is no danger of their attention wandering. The forcefully performed, large scale show is a terrific fit for the mighty Regent Theatre, in which lesser productions can easily become lost.

Set in a dystopian future where rock music has been banned, a group of underground rebels seeks to return rock music to its full glory. Elton turns music theatre’s boy-meets-girl formula on its head by giving female lead Scaramouche a snarky, decidedly unromantic personality. Male lead Galileo is the dreamy dreamer who channels rock’s past by speaking in a ceaseless stream of audience-familiar song titles. The joke continues with the rebels’ adopted monikers, which include mis-matched, poorly pronounced incarnations of Madonna, Britney Spears et al.

Amidst this levity, one authentic, highly affecting moment shines through. Discussion of rock heroes turns to those who died before their time, and Oz (Ozzie Osbourne) sings “No-one But You (Only The Good Die Young).” In an evening of full-throated belting, shining star Jaz Flowers sings this tribute with such tender beauty that only the very hardest heart would be unmoved.

Gareth Keegan delivers another sensational lead performance as Galileo, deepening the mystery as to why he is not more of a household name. Keegan’s powerful tenor voice adapts perfectly to rock ballad style, his speaking voice has a very attractive tone and he fills out a black t-shirt most impressively.

Lumbered with the annoyingly unlikeable role of Scaramouche, relative newcomer Erin Clare gives a perky, well focused performance. For the rock numbers, Clare’s soprano voice sounds best when she is belting at full strength.

Long time supporting player and ensemble member, Thern Reynolds deservedly breaks out from the pack with the key role of Britney. Maintaining a strong physical presence, Reynolds sings with impressive rock style and delivers the humour in a good natured manner.

While the disappearance of true rock and roll is blamed on commercially produced blandness from the production line of Australian Idol, the series has actually produced one of the sensational stars of We Will Rock You in Casey Donovan. Made up like a superhero version of Mimi Bobeck, Donovan’s rock solid belt is electrifying in numbers such as “Killer Queen” and “Another One Bites The Dust.” Hopefully the stage will continue to serve up roles that fit Donovan’s mighty talents.

Just as George Kapiniaris impressed so thoroughly in Nice Work If You Can Get It, the secure, likeable performance of Brian Mannix as Buddy comes as a very pleasant surprise. Mannix delivers dialogue like a seasoned stage professional, and rocks out his big act two number “These Are The Days Of Our Lives” to great effect.

The talented members of the ensemble are largely featured in thankless choreographed scenes where their faces are not seen clearly. Their time to shine comes when playing individual Bohemians, and they thrive in these scenes.

Mark Fisher’s stadium-style scenic design fits the space grandly, and looks all the more spectacular with Willie Williams’ intense lighting design. The various songs largely play like video clips, with the songs well chosen for their popularity but not really advancing the story to any significant extent. Sound design by Bobby Aitken is extremely loud and yet ensemble lyrics are difficult to distinguish. A series of lavish pyrotechnic effects ends the show on a visual high.

Music supervisor Guy Simpson and musical director David Skelton have ensured that the music sounds authentic and vibrant. The musicians in the band are superb, and it is great to see them take a well-deserved bow on stage in the curtain calls.

We Will Rock You may not be aimed at Broadway fans, but Queen lovers will surely be keen to hear the music performed so well.

We Will Rock You plays at Regent Theatre, Melbourne until 30 October 2016.

Photos: Jeff Busby

In a highly affecting and inspiring trio of works, Bangarra Dance Theatre acknowledges and celebrates history, family and art in OUR land people stories.

From the harrowing Macq to the joyful Miyagan to the edifying Nyapanyapa, the works are not only well matched as a moving sequence of storytelling but are also beautifully curated as a unified program. Sharing a set designer (Jacob Nash), costume designer (Jennifer Irwin) and lighting designer (Matt Cox) gives the evening an artistic through line, and yet the talent and creativity of these contributing artists gives each piece a distinctive tone and texture.

Housing the work in a black box, Nash adds scenic elements that stand out crisply. The slowly increasing installation of wiry strands and thick feathers adds to the abstract feel of Miyagan. Large-scale reproductions of the works of visual artist Nyapanyapa Yunupingu create a stunning backdrop as the artist’s life story is represented in Nyapanyapa.

Cox keeps the surroundings inky black whilst bathing the dancers and scenic elements in warm, clear light. A particularly powerful effect is achieved in Macq when slaughtered bodies on display in the trees are bathed in an eerie red light.

Irwin contributes a stunning variety of costumes, individual enough to appear to have come from at least three designers but with a shared quality of being perfectly fitted so as to balance theatrical effect and comfort for dance. Politicians in Macq are denoted with oversized decorative military jackets. Family members in Miyagan share muted neutral tones. Art comes to life in Nyapanyapa when dancers sport hot pink outfits as Bush Apples.

Based on the 1816 Appin massacre, Jasmin Sheppard’s 2013 work Macq begins with a powerful statement on the depth of individual loss by focusing on one woman mourning over the body of a once strong, young man. A colonial picnic gives way to a tense face off between Governor Macquarie (Daniel Riley) and a traditional Aboriginal man (Beau Dean Riley Smith).

David Page’s abstract soundscape includes spoken diary extracts of Macquarie justifying the massacre. Macquarie’s tone sounds reasonable but the words are sickening. In a dramatically charged solo, Riley portrays the torment of the words on Macquarie as hears them play; the audience shares his repulsion.

Following Macq in the first half of the program, the optimism and cheer of Miyagan bring some welcome relief. Set to music by Paul Mac, Riley and Riley Smith have imbued their work with the driving energy of a celebration of family unity and strength. Amidst featured solo pieces, the moment of unison ensemble dance are particularly striking.

Stephen Page’s new work Nyapanyapa continues the positive vibe after interval with a representation of the life of Nyapanyapa Yunupingu. Elma Kris given a sympathetic, involving portrayal of Yunupingu, highlighting the artist’s fascination with nature and her involvement with the people that fill her life.

Nyapanyapa begins with a defining incident when the young Yunupingu was gored by a buffalo. Page gives a clear expression of the connection between all living creatures when the buffalo, danced majestically by Waangenga Blanco, is seen to be sorrowful as Yunupingu after the attack.

Steve Francis’ score moves through a range of styles as various aspects of Yunupingu’s artworks are represented on stage. Merging art and dance directly, two metre high dolls are arranged in formations by the dancers as Lost Wendys. Wearing gorgeous modern prints, the dancers move with upbeat energy in front of one of Yunupingu’s gorgeous crosshatch paintings.

In an extraordinarily generous move by Bangarra Dance Theatre, the glossy, highly informative 44-page program for OUR land people stories is complimentary for audience members.

OUR land people stories is as beautifully performed as it is stunningly produced. Attendance is highly recommended for all arts lovers.

The national tour of OUR land people stories is dedicated to David Page.

OUR land people stories plays at Playhouse, Arts Centre Melbourne until 10 September 2016.

Photos: Vishal Pandey aka wanderlust73

Pursued by Bear premieres 2013 Broadway musical First Date in an impressively produced, enthusiastically performed all too brief season.

As the title suggests, First Date is about a couple on their first date, which is, in fact, a blind date. The 90-minute musical has much more of an off-Broadway vibe, which makes it a perfect match for an independent production at Chapel off Chapel. The suitability of the show is further enhanced with a transplant from New York City to inner urban Melbourne, a move that is very smoothly accommodated.

Austin Winsberg’s sharply written book provides many recognisable moments, and avoids saccharine tendencies as it winds its way to a well-earned upbeat ending. Alan Zachary and Michael Weiner’s accessible score features little in the way of memorable music but seamlessly continues the pleasant humour of the dialogue scenes.

The first and most striking aspect of the production is the beautifully realised scenic design by Sarah Tulloch. The space is transformed into a capacious café, with hanging plants, eclectic furniture and a real coffee machine. Arrive early to secure a table at the front of the seating bank and enjoy a coffee before the show.

Progressing through as many dips, peaks and sharp turns as a rollercoaster, Aaron and Casey’s date covers first impressions, small talk, awkward pauses, unintentional insults and the gradual lowering of defences. The inner voices of the pair’s thoughts, despairs, memories and dilemmas are brought to life by the other five cast members, who break out from their evening at the café to become various friends, relatives, exes, therapists and even imaginary children.

Also populating the café, in a style reminiscent of Waitress, are the five talented musicians of the band. Seated in the café’s kitchen, percussionist Cambel Phillips’ chef’s hat is a witty touch from Tulloch. Musical director Stephanie-Jane Lowendon-Lowe, on piano, maintains a supportive stage presence, gently presiding over a very confident performance of the unfamiliar score.

Overall, Tulloch has toned down the theatricality of the costumes to successfully keep a natural sense of realism. Additional touches to transform the ensemble cast into the supporting characters are all achieved with efficiency and a touch of flair.

Bryn Cullen’s lighting design adds to the ambience of the café setting. Although many of the breakout moments of the inner voices are clearly highlighted, there are a few too many times when cast members sing a line or two in virtual darkness. Sound design, not credited in the program, also experiences some challenges in having all lyrics distinctly heard.

While the show gets off to a bit of a slow start, director Mark Taylor ramps up the interest as the ever-increasing influence of the lead pair’s inner voices exerts mounting pressure on their decisions. There is a perky, engaging performance energy but this does not overpower the natural feel of the scenario. Joel Anderson’s well-integrated choreography also contributes to the effervescent vibe.

Fresh VCA graduate Jordon Mahar is a character actor at an age when most graduates play traditional romantic leads. The role of straight-laced banker Aaron is an ideal fit for Mahar’s considerable talents, and he is particularly convincing in drawing the audience closer as Aaron’s protective walls come tumbling down. The character’s two emotional high points come when he answers the letter of his deceased mother, in “The Things I Never Said,” and when he releases a diatribe of resentment on his ex-girlfriend in “In Love With You.” Mahar nails these moments, and maintains a likeable, non-clichéd character throughout.

Casey begins with a sullen tone and prickly manner, but rising talent Rebecca Hetherington allows the audience to see the character’s gradual thawing towards Aaron as the evening progresses. Explaining why she only dates bad boys, Casey stops the show with soaring ballad “Safer,” in which Hetherington displays a sensational belt in her singing voice.

Each of the supporting cast has a number of moments to shine, and their vivacious skill adds significantly to enjoyment of the show.

Nicole Melloy provides a hilariously quirky physicalisation of Grandma Ida, and provides strong support as Casey’s relentless sister Lauren. Adam Porter shines as Casey’s best friend Reggie, who performs his loyal duty of ringing to give her a chance to bail out of the date.

Daniel Cosgrove pushes best friend Gabe’s typically male agenda with a knowing wink. Danielle O’Malley proves a good sport in portraying ex-girlfriend Allison’s most unlikeable traits. Stephen Valeri has a charming, relaxed manner as the waiter, delivering a flashy comic number when the waiter breaks the tension with a song he wrote called “I’d Order Love.”

The local premiere of a Broadway musical is always a welcome event for music theatre lovers. First Date is a enjoyable addition to Melbourne’s current theatre calendar.

First Date plays at Chapel off Chapel, Melbourne until 11 September 2016.

Photos: Ben Fon