Crafted at the pinnacle of Broadway’s golden age, prized musical treasure My Fair Lady is meticulously restored to its original glory in this 60^th anniversary production.

Reversing the trend of directors and designers who seek to put their own spin on a show as they remold and retool it, the clock is turned back for a unique insight into the world of music theatre in Broadway’s heyday. Providing a direct link to the past is director, and international icon, Julie Andrews, who starred as the original Eliza Doolittle back in 1956.

Andrews’ direction encourages a broad playing style, in which performers face forward and speak at loud volume, albeit with perfect diction. This style takes the show to the audience rather than drawing the audience towards the actors/characters, and yet the talented set of leads still succeeds in winning affection. Storytelling is crystal clear, although it would be nice to give some credit not only to audience intelligence but also to familiarity with the story.

At the heart of the restoration are the set design of Oliver Smith and the costume design of Cecil Beaton.

Overseen by Rosaria Sinisi, the scenic design returns to a time when painting of scenery was a well-practiced art form. Present day theatre lovers have only seen such designs in little photos in CD booklets or in coffee table books. Framed within a gilt-edged, arched false proscenium, the combination of painted backdrops and solid sets creates depth and visual appeal.

The cost of the homage to this scenic style, however, is the inclusion of scene change blackouts with the traveller curtain closed, blowing out the running time to 195 minutes (including interval). The designs are certainly attractive, but, in terms of technical achievement, community theatre surpassed this level many years ago.

The most successful scenic transition, which drew worthy applause on opening night, is the dissolve from the promenade of the embassy to the ballroom. The sets rotate and chandeliers are lowered in plain sight, bringing a very satisfying result when the picture fully resolves. More of this kind of flair was needed in the design, even if this meant straying beyond the original format.

Recreation of the costumes is unreservedly a success. The work of John David Ridge has clearly involved exhaustive research and loving care, attaining an extraordinary level of beauty and perfection. Moving from jewel tones for the operagoers in the opening, to the striking black and white of Ascot to soft pale pastels for the ball, the female ensemble are very well served. Eliza’s bejeweled shimmering white gown for the ball is a highlight, as is the black velvet jewel-collared cape she wears over it afterward.

Bringing a talent for energetic yet respectful revitalisation of classics, seen in South Pacific and The King and I, choreographer Christopher Gattelli makes the absolute most of the small number of opportunities for dance in My Fair Lady. The ensemble formations in “Embassy Waltz” are quite divine, “Ascot Gavotte” moves with delectable wit, and joyful company number “Get Me To The Church On Time” is the energetic showstopper needed at the 165-minute mark of the show.

Music Director Guy Simpson presides over an orchestra of 32 musicians from the Australian Opera and Ballet Orchestra, giving a richly coloured performance of Frederick Loewe’s music. The flawless sound design, by Michael Waters, projects each and every one of Alan Jay Lerner’s words with clarity and in perfect balance with the music.

An operatically trained soprano and stunning actress, Anna O’Byrne returns to Australia to fulfill the promise shown as Maria in West Side Story last year. While her previous high profile role of Christine in Love Never Dies showcased her porcelain beauty and full-bodied soprano, the role of Eliza Doolittle involves a narrative arc that is as complex as it is well known. O’Byrne brings a compelling freshness to the role, nailing both the cockney and polished accents as well as the journey between the two. Revealing a talent for comedy, O’Byrne is hilarious at Ascot, taking Eliza from a rigid, trained automaton to an alluring center of attention.

O’Byrne is equally powerful when silent, such as when standing paralysed with simmering pain as Higgins and Pickering congratulate each other during “You Did It” or seeing her old haunt through new eyes when revisiting the market as a Lady. From the spitfire venom of “Just You Wait” to the soaring high notes of “I Could Have Danced All Night,” O’Byrne’s singing of the role is glorious.

When National Theatre’s acclaimed revival of My Fair Lady transferred to the West End’s Theatre Royal, Drury Lane in 2002, multi-talented actor Alex Jennings took on the role of Henry Higgins, winning an Olivier Award as Best Actor. Delightfully droll and frustratingly obtuse, Jennings’ interpretation of the role is both pleasingly traditional and intriguingly nuanced. Jennings’ stage presence is never less than compellingly magnetic, and the audience is on his side no matter how outrageous his statements against women and the lower classes.

In the hands of two such gifted actors, Higgins and Eliza’s shared scenes are enthralling. The standout moments are the pair’s bitter fight after the ball and their showdown at Mrs Higgins’ conservatory. Thankfully, Andrews follows the original interpretation of Higgins and Eliza’s relationship, allowing them to deeply bond on a human level rather than artificially forcing romantic overtones into the story.

Having starred as Higgins in Opera Australia’s 2008 staging of My Fair Lady, Reg Livermore returns this time as loveable rogue Alfred P. Doolittle. Livermore has the audience in his palm as Doolittle progresses from ne’er-do-well dustman to newly moneyed groom.

Tony Llewellyn-Jones brings a lively sparkle to conservative housemate Colonel Pickering.

In her third musical role for 2016, Deirdre Rubenstein imbues imperious but softhearted Mrs Pearce with exactly the plummy tones one would expect from the housekeeper to a phoneticist.

Robyn Nevin is all class as Mrs Higgins, landing many a laugh with her gently sardonic delivery of the world-weary matron’s dialogue.

Playing simpering society fellow Freddy Eynsford-Hill, popular singer Mark Vincent’s relative lack of acting experience is clear. Vincent sings “On The Street Where You Live” strongly, but shares no chemistry with O’Byrne’s Eliza.

All members of the triple threat ensemble work brilliantly, playing a range of roles with distinction.

It is hard to imagine a more reverential treatment of a classic musical than this season of My Fair Lady, which is a must-see event for all music theatre lovers.

My Fair Lady plays at Joan Sutherland Theatre, Sydney Opera House until 4 November 2016. My Fair Lady tours to Brisbane in March 2017 and Melbourne in May 2017.

Photos: Jeff Busby

The Australian Ballet boldly rewards their audience and dancers alike with John Neumeier’s dramatic adult fantasia Nijinsky.

Performed by a company outside Hamburg Ballet for only the second time since its 2000 creation, Nijinsky is an extraordinary achievement for The Australian Ballet. A relatively simple idea at its heart, the abstract complexity and serious themes of the work give it an epic grandeur. The limits of the company are stretched not just by the unique mix of modern and classical dance required but also by the sheer number of dancers required on stage. The curtain call on opening night almost resembled a full company bow, and was greeted by the appreciative roar of a full standing ovation.

A highly personal work, the scope of the work is clearly due to the vision and driving passion of choreographer John Neumeier. Neumeier’s singular talent is further revealed by the fact that he took on the rare feat of also designing the scenery, costumes and lighting. The company has been blessed by Neumeier’s presence in the rehearsal and staging process, supported by his highly experienced colleagues from Hamburg and Canada.

The ballet has an unusual extended opening sequence. The audience enters the auditorium to find the curtain raised on a highly realistic scene of the ballroom at Suvretta House, St Moritz. With neither the traditional lowering of house lights nor entrance of conductor, the stage action begins with another ballet rarity: dialogue. Stylish guests gather in a flurry of excitement to see Vaslav Nijinsky dance, their high spirits somewhat dampened as the great man performs a jerky, unconnected series of moves that seem to flit from role to role.

Slowly, the house lights dim, the set melts away and the orchestra takes over the accompaniment, as Nijinsky travels feverishly through his memories of love and life on the stage. A tour through some of Nijinsky’s iconic roles, the ballet winds strands of madness, betrayal, passion and the brutality of war.

A principal of Hamburg Ballet and veteran of some 35 Neumeier ballets, guest artist Alexandre Riabko danced the title role on opening night. Riabko clearly has the work in his bones, and his talent blazes forth in every move. Furthermore, Riabko’s calm control and nuanced portrayal of inner turmoil add significant heft to the performance. The combination of thorough rehearsal and talent from both sides has allowed Riabko to work seamlessly as a member of the company, achieving a relaxed, intimate connection that usually derives from years of teamwork.

Effortlessly combining music from Chopin, Schumann, Rimsky-Korsakov and Shostakovich, maestro Nicolette Fraillon delivers a finely nuanced yet unshowy performance from Orchestra Victoria. Pianist Duncan Salton makes an invaluable contribution on stage in the opening scene.

Part one is a showcase for Neumeier’s ingenious designs, which draw significant elements from the great works to create a cohesive whole. There are moments of vivid colour and spectacular ballet as the reminiscences move in and out of Nijinsky’s mind. Neumeier’s lighting is especially creative, and looks stunning on the vast State Theatre stage. The act concludes with a return to Suvretta House, the various characters and dancers joining the original guests on stage in a collage of memory fragments.

Dressed in an elegant, floor length red velvet dress, Amy Harris gives a seductive performance as Vaslav’s wife, Romola. The character was not a dancer but Neumeier has choreographed the narrative for the role carefully and Harris dances and acts it exquisitely.

Nijinsky’s journey to the past is prompted by the appearance of his great love Diaghilev at Suvretta House. It is hard to imagine another dancer bringing the combination of confident magnetism, supple strength and tender passion that Adam Bull brings to the role. Bull and Riabko convey Diaghilev and Nijinsky’s nonverbal communication and lifelong bond vividly, and dance together with a sensuality that appears entirely natural.

Other clear highlights in part one include Christopher Rodgers-Wilson as the Young Man in Jeux, and Cristiano Martino as the Golden Slave in Schérhérazade. As The Ballerina, Ako Kondo performs a range of roles with reliable grace. Leanne Stojmenov elegantly dance roels played by Nijinsky’s sister, Bronislava.

The second half of Nijinsky has a change of tone, as the onslaught of World War One impacts the arts. The company performs in neutral, pale grey costumes as Nijinsky recollects his wife’s infidelity and his family’s own madness. The shadow of the war begins subtly, with first one soldier marching across upstage, then another, then another, until eventually all the male corps have army jackets over their dancewear. The male dancers rise to the challenge of the extra focus on their work, creating a combined strength that has an inspiring impact.

In a highly affecting performance, François-Eloi Lavignac shows incredible skill in portraying Stanislav Nijinsky’s madness and eventual death. Nijinsky’s grief and sense of helplessness for his brother are giving time and weight in the narrative, increasing the painful impact of events.

Another powerful highlight in act two is the work of Brett Simon as Petruschka. With the puppet’s strings cut, metaphorically, by the war, Petruschka flounders about in a painful reduction of his usual grace.

The madness that ended Nijinsky’s career is seen in a cruel light given his extensive contribution to the language and repertoire of ballet. Nijinsky is a fitting celebration of the legacy and a moving tribute to Nijinsky’s life.

Working on Nijinsky has clearly galvanised and inspired the company. With Coppélia on the near horizon for younger ballet audience members to enjoy, adult theatregoers will revel in the mature themes and highly intelligent staging of Nijinsky.

Nijinsky plays at State Theatre, Arts Centre Melbourne until 17 September 2016 before touring to Adelaide and Sydney.

Photos: Jeff Busby

The Australian Ballet School presented a highly entertaining, thoughtfully selected program of pure dance for their Showcase 2016.

A hallmark of the evening was the radiant joy and calm confidence of the dancers as progressed the range of styles featured in the varied program. While these qualities were clearly evident in all seven items, the extended final presentation A Time to Dance was a particularly well-selected work to celebrate the burgeoning maturity and youthful vibrancy of the dancers. Stanton Welch’s 1990 work blends classical and character choreography, making it a perfect fit for the evening given the way these styles were threaded through the program.

Set to festive Slavonic Dances of Dvořák, A Time to Dance has a summery, outdoor feel. The dancers wore costumes in lemon and orange sherbet tones, and were seated in pairs in a semicircle as various soloists and duos performed centre stage.

Two soloists stood out in this sequence. Yichuan Wang and Yuumi Yamada both performed extended solos in which the high quality of their dancing was complemented by their delightful expression.

Wang and Yamada both also excelled as Principal Boy and Girl in the opening item, Raymonda Grand Pas. Lisa Pavane, director of The Australian Ballet School, restaged this lovely classical piece, which was performed in The Australian Ballet’s pale yellow and cream costumes.

Pavane spoke briefly on stage, paying tribute to the hardworking accompanists of The Australian Ballet School while introducing three items that were to be performed in the Showcase with live accompaniment on stage.

Christine Howard, character teacher at The Australian Ballet School for over 30 years, choreographed a charming Défilé that involved a huge number of students across Levels 1-7. Shades of pale blue and purple gave a visual guide to the dancers in each of the Levels. With Youri Mougerman on Balalaika and Izabella Mouguerman on grand piano, the students processed through a series of crisp, lively steps, building in number of dancers to the climax.

The school’s Spanish program was represented by the sultry rhythms of Seguirilla, choreographed by Areti Boyaci. Flamenco guitarist Werner Neumann provided live accompaniment as the dozen black-clad dancers performed with focus and flair.

After the first interval, the school performed the Australian premiere of Almost by acclaimed choreographer Graeme Murphy. John Tallis’ Fantasy for Violin and Piano was played on stage by Monica Curro and Stefan Cassamenos.  The brisk 10 minute piece is an abstract reflection on the longing of youth. Murphy worked with three boys and three girls of the graduating class, making them look even more mature by dressing them in smart daywear. Girls in filmy floral frocks and boys in shirts and trousers moved briskly between various combinations of trios and triangles.

Journey is a work for 15 dancers by Margaret Wilson, the School’s Contemporary teacher and choreographer. Creating variations on the theme of travel, Wilson has worked with the dancers to create vivid images including undulating waves, an airport arrivals gate and a bird in flight.

The second premiere of the evening was A Singular Sequence by Stephen Baynes, a resident choreographer at the Australian Ballet. To selections of music by Stravinsky, Baynes has choreographed a dozen senior students in an energetic yet elegant work.

The piece begins with the sense of a narrative as four boys enter to watch and conspire as four girls dance. From here, the piece becomes more abstract and free flowing Dark purple and black costumes, designed by Peggy Jackson, create an androgynous feel. This aspect is particularly noticeable in the central section, in which a group of four male and two female dancers work as one.

The dancers earned rousing cheers acclaim from the appreciative audience as the generously proportioned evening drew to a close.

The Australian Ballet School’s Showcase 2016 was performed on Thursday 15 September 2016 at State Theatre, Arts Centre Melbourne.

Check back later for images.

Lyric Opera of Melbourne has unearthed another treasure with the Australian premiere of Malcolm Williamson’s 1963 opera Our Man in Havana.

Part spy thriller, part devilish black comedy, Our Man in Havana has enough scintillating plot for half a dozen operas. Based on Graham Greene’s 1958 novel, which was also the source for the classic 1958 movie, the opera pokes fun at the serious nonsense of spy agencies whilst also telling a ripping yarn of its own.

When Cuban-based English vacuum cleaner salesman James Bramble is talked into taking an extra wage as a spy, he finds it all to easy to invent agents’ names and draw secret machines that he has “discovered” in Havana. The plan backfires when real men start being killed, including close friend Dr Hasselbacher, and Bramble’s own life is put under serious threat.

Unlike the abstract soundscapes of many modern operas, Williamson’s score is an instantly accessible blend of ensemble scenes that bring to mind grand opera, recitative accompaniment that could be the soundtrack of a spy thriller movie, and melodies as gorgeous as those by Richard Rodgers. The ensemble provides hummable vocal interludes that provide welcome moments of relief from the tension of the central plot.

Dressed as flamboyantly as the cast, an orchestra of 22 musicians plays Williamson’s original orchestrations under the leadership of Pat Miller, artistic director of Lyric Opera. Miller’s exacting preparation gives him supreme confidence in leading a zesty performance of the wonderfully enjoyable score. While diction and projection are excellent, the unfamiliar lyrics are occasionally difficult to fully discern over the accompaniment.

Despite the challenges of acoustics, director Suzanne Chaundy has ensured that the storytelling is clear so that the twists and turns of the intriguing plot can be easily enjoyed.

Designer Lucy Wilkins has transformed the flexible space upstairs above the Athenaeum Theatre into a characterful Cuban club. Chaundy makes excellent use of this arrangement, spreading the action across the full width of the room, from the bandstand to the bar. In the absence of a proscenium arch, the venue’s doors are used effectively for exits and entrances

The pink and orange ruffles of Wilkins’ costume design may be a little bit stereotypically Cuban, but the attractive visual picture suits the larger than life scenario of the opera.

Joining the cast at the beginning of rehearsals, Martin Thomas Buckingham had only three weeks to learn the massive lead role of Bramble. This intense effort has been a resounding success, with Buckingham singing with rock solid confidence. Buckingham’s tenor voice has a rich, appealing tone, and his characterisation of Bramble is a deft blend of stiff-upper-lip seriousness and twinkle-in-the-eye comedy.

Bramble’s vivacious 16-year-old daughter Milly provides an ideal leading role for rising soprano Kate Amos. With wide-eyed expression and intricately styled blonde ponytail, Amos lifts the energy level whenever she is on stage. Milly’s act one aria about her beloved horse Seraphina gives Amos a delightful melody, and she sings it beautifully.

Aged with a paunch and grey hair, handsome young bass Matthew Thomas gives a compelling performance as Dr Hasselbacher. The significance of the role deepens as the opera progresses, and Thomas delivers an extremely powerful extended final scene for the ill-fated character.

Michael Leighton Jones brings a sense of gravitas to war veteran Hawthorne. Stephen Marsh gives an authentic look to Captain Segura, a gregarious but suspicious authority in the local military. Smartly attired in dark green and white, Elizabeth Stannard-Cohen demonstrates her extensive stage experience as she sings with polished flair in the role of Bramble’s new secretary Beatrice.

2016 Herald Sun Aria Finalist Raphael Wong is luxury casting in the small but crucial cameo role of Carter, a ruthless agent involved in the climax of the plot.

Besides singing strongly, the ensemble performs a range of duties, from dancing to cameo roles to scene changes. Kerrie Bolton makes a powerful impression in the act one chorus interlude. The ringing sound of Matthew Hyde’s gorgeous tenor voice is a pleasure to hear.

Our Man in Havana is modern opera at its most entertaining and enjoyable level. Local operagoers lucky enough to attend the season owe Lyric Opera of Melbourne a huge debt of gratitude for their creativity, passion

Our Man in Havana plays selected dates at Athenaeum Theatre 2, Melbourne until 24 September 2016.

Strong cast, expert direction and high production values elevate Fawlty Towers Live well above a mere indulgence in rose coloured nostalgia.

There is an inherent risk in messing with perfection. As a theatrical experiment, Fawlty Towers Live could have ended up an indulgent parody, a pale shadow of the original or an outdated bore. Instead, the world premiere staging of one of the greatest ever sitcoms is fabulously fresh and funny.

The cherished series has been adapted for the stage by original star John Cleese, who penned every episode with then wife Connie Booth, who played Polly. Cleese has been wise to enlist the services of experienced director Caroline Jay Ranger, whose input successfully shaped the play from the combined script of three of the original episodes.

In adapting a work for a different medium, the overriding question is always whether it adds anything to the original. On Liz Ashcroft’s capacious set, up to four scenes can occur simultaneously, often adding subtext to the main focus.  The intertwined story threads are timed precisely to maximise the escalation of tension and provide a number of climactic comic moments before the grand finale. Best of all, the combination of excellent casting and organic direction bring the revered characters back to life with a vibrancy that is far superior to any sort of impersonation.

To ground the hilarity, Cleese takes a few moments in act one to allow ever-sparring spouses Basil and Sybil Fawlty to share a civil, human exchange. The connection they once shared, but struggle to cling to now, is actually evident in this stage version.

The story remains set in the 1970s, a time of rotary dial phones, garish fashions and smoking in the workplace. Ashcroft pays homage to the original wardrobe, providing costumes that are distinctly unappealing without drawing unnecessary attention away from the verbal and physical comedy. Sibyl’s figure-hugging purple suit is offset perfectly with one of her trademark large white ruffles down the front of her blouse.

In a witty nod to the original period, lighting designer Ian Scott creates the bright, 360 degree lighting of a sitcom soundstage.

The production is generously given a West End-sized cast, with swings and covers playing numerous supporting roles.

In an expertly calibrated lead performance, Stephen Hall brings out all of Basil’s ticks, frustrations and idiosyncrasies with flair. In a role that must be played on the knife’s edge all night, Hall somehow manages to go over the top without going over the limit of what makes Basil so hilarious. Hall’s Basil remains an ill-tempered brute who is nonetheless oddly sympathetic. Basil can be vulgar and violent, yet Hall keeps him human by showing what makes him tick.

A Sydney-based actress who is all too rarely seen on the Melbourne stage, Blazey Best is a wicked delight as Sybil. Mastering Sybil’s toffy manner of speaking with barely moving her mouth, Best scores many a laugh with her vocal intonation and grating laugh.

In another role that could so easily descend in to parody, Syd Brisbane is hilarious as well-meaning porter Manuel. Brisbane’s performance is pure comedy, deftly delivering a steady stream of laughs while showing none of the inner workings of the performance. The authentic feeling of the 1970s setting shelters the decidedly non-PC characterisation from a racist slant.

The spitting image of the original Polly, Aimee Horne has the perfect wide-eyed countenance to convey the saintly patience with which Polly counters her ongoing feeling of bewilderment at the insanity of her workplace. The only temperate, balanced employee, it is a nice touch to see that Polly has learnt Spanish to be able to actually communicate with Manuel.

Channelling the bristling best of Dame Maggie Smith, Deborah Kennedy is an absolute delight as prickly guest Mrs Richards. Demonstrating that the best comedy comes from being serious, Kennedy creates a brutally unflinching portrait of a difficult, self-righteous woman.

Fans of Fawlty Towers are sure to enjoy this respectfully created, carefully polished homage. Fawlty Towers Live will earn roars of laughter from devotees and newcomers alike.

Fawlty Towers Live plays at Comedy Theatre, Melbourne until 23 October 2016, before touring to Adelaide, Perth and Brisbane.

Photos: supplied

As dazzling a Disney stage spectacle as could possibly be imagined, Aladdin is a generous slice of music theatre heaven with rainbow sprinkles on top.

While stage musical adaptations of animated Disney movies Tarzan, The Little Mermaid and The Hunchback of Notre Dame have come and gone with little impact, Aladdin has deservedly become an international smash hit. Smart, sassy and visually stunning, the musical has been fleshed out into a toe-tapping treat that happily wears it vibrant heart on its sequined sleeve.

One of the most successful aspects of this stage adaptation is the way the tuneful score has been expanded so seamlessly. Songs by Alan Menken, Tim Rice and the late Howard Ashman for the 1992 movie have been complemented with new, instantly hummable compositions from Menken and book writer Chad Beguelin to create a fully integrated Broadway score.

Beguelin’s book matches the zany humour of the movie, with puns, non-sequitirs and meta moments to spare. Beguelin cleverly uses the beloved Genie to introduce the show, then turns the spotlight on plucky street urchin Aladdin and restless Princess Jasmine. Aladdin and Jasmine follow the time honoured boy meets girl track, while Aladdin also enjoys a second significant relationship with Genie. Dispensing with the need for puppets or animal masks, Aladdin’s pet monkey Abu is replaced with three best friends, Babkak, Omar and Kassim, and the villainous Jafar’s squawking parrot is replaced with squawking human sidekick Iago.

With four shows running concurrently in April this year, director/choreographer Casey Nicholaw has well and truly conquered Broadway. Aladdin is, however, the first of his double duty musical productions to be staged in Australia*.

Nicholaw has the skill and vision to cater for today’s audiences while firmly keeping a foot in the Broadway traditions of old. Aladdin moves at breakneck pace, and yet storytelling is never less than crystal clear and human connections are paramount. A great example of Nicholaw’s stage skill comes in lively charm song “Babkak, Omar, Aladdin, Kassim.” Nicholaw momentarily slows down the action to zoom in on Jasmine’s reaction to the market and then on Jasmine’s first meeting with Aladdin before returning the action to full pace.

The added benefit of a director/choreographer is that the choreography extends to scenic movement and lighting. The dynamic musical numbers of Aladdin feature frequent movement of scenery and countless lighting states.

The scope of Bob Crowley’s scenic design is rather epic and the artistry of its execution is often breathtaking. No photo can do full justice to the Cave of Wonders; it just has to be seen live. Likewise, the magic carpet effect of divine duet “A Whole New World” is incredible enough so as to appear to actually be magic.

Since the 2014 Broadway opening, there seems to be little tweaks and polishes in Crowley’s design and Natasha Katz’s lighting design, making the Australian production look all the more spectacular. The programmed star cloths for the magic carpet ride are completely immersive. The midnight sky and terracotta balconies of the Capitol Theatre auditorium suit the visual appeal of the production perfectly.

The stunning stage picture is completed by the truly beautiful costumes of Gregg Barnes. With a seemingly infinite budget for sequins, Barnes has crafted a cavalcade of costumes in gleaming jewel tones, pretty pastels and luxurious whites and creams. If the gold outfits of act one finale “Friend Like Me” are not eye-popping enough, the veritable fashion parade of act two opener “Prince Ali” features enough designs for an entire show. Other highlights include Jasmine’s gorgeous pale musk wedding gown, and the magic of Jafar’s double fast change at the climax.

At this performance, the role of Genie was played by Gareth Jacobs. Looking just a trifle nervy as he opened the show on stage alone, Jacobs soon warmed into the sparkly camp aspects of the role. By the time Genie materialised from the lamp, Jacobs was playing at full strength, projecting the deliciously bold character to the back of the dress circle. Jacobs nails the powerhouse belt and the playful comic timing, offsetting this nicely with an endearing undercurrent of vulnerability.

Die hard Disney fans will adore the breakout sequence in “Friend Like Me” when the Genie riffs snatches of ’90s Disney standards.

Carrying the title role on his young shoulders, Ainsley Melham balances wholesome Disney goodness with a knowing twinkle in his eye. Buff and tousle haired, Melham sings with a pleasant light tenor. Projecting an appealing charm, Melham forges sparks of chemistry with each of his costars.

Arielle Jacobs is perfectly lovely as Princess Jasmine, but it remains unclear as to why a local artist could not have played the role.

The supporting cast is filled with highly experienced performers, all appearing to have an absolute ball in this Disney juggernaut.

Often cast as a nice guy, Adam Murphy exhibits a nicely understated sinister flair as Jafar. Aljin Abella is brilliantly perfectly cast as sidekick Iago, reaching levels of inspired lunacy as the grinning malevolent buffoon.

Aladdin’s sidekicks enjoy some of the choicest numbers, and the trio of actors in these roles successfully creates a set of distinct characters. Experienced leading man Adam-Jon Fiorentino captures the alpha male bravado of Kassim. Character actor Troy Sussman gleefully delivers a stream of food-related puns as Babkak. Relative newcomer Robert Tripolino makes a highly promising commercial theatre debut as nervy, fey sweetheart Omar.

The hard working ensemble of triple threats makes the continuous flow of snappy vocals, intricate choreography, snappy costume changes and amusing character work seem all too easy.

Take it for granted that Aladdin is unforgettable family entertainment. The additional bonus is the broad appeal for all ages. A must see.

Aladdin the Musical currently plays at Capitol Theatre, Sydney and will play at Her Majesty’s Theatre, Melbourne from April 2017.

Footnote: Whoopi Goldberg once took over the traditionally male role of Pseudolus in A Funny Thing Happened On The Way To the Forum. Wouldn’t it brilliant to see ensemble member Leah Howard as Genie…

*A nifty little show called The Book of Mormon is on its way to Melbourne in early 2017

Photos: #1-#5 Deen van Meer; #6 Michele Aboud

Darkly dramatic musical Side Show is given an intelligent production featuring a cast of powerful singing actors.

Based on the real lives of conjoined twins Daisy and Violet Hilton, Side Show takes an unflinching look at the oppressive human cruelty of prejudice and fear. The vulnerability and optimism of the girls is completely endearing, making their setbacks and crushed dreams all the more affecting. Despite encountering disappointments and ill treatment, the indomitable spirit of Daisy and Violet allows them to end the show on a note of hope.

Bill Russell and Henry Krieger’s 1997 musical drew its inspiration from the Vaudeville setting of much of the story. In a similar style to Cabaret, the musical incorporates some performance numbers that provide oblique commentary on the storyline. While some of the expositional numbers are a little heavy handed and unmelodious, the “Vaudeville” songs are wonderful and the power ballads and duets are excellent.

For this Australian professional premiere season, One Eyed Man Productions and Hayes Theatre Co are presenting the revised version of Side Show, which played a modest season on Broadway from November 2014. Broadway revival director Bill Condon added to the book, and a significant number of songs were added and deleted. This version expands upon the sisters’ back-story, and rounds out the characters of the major players.

The cast is uniformly strong, but the heart of the show is the work of Laura Bunting as Daisy and Kerrie Anne Greenland as Violet. As well as providing soaring vocals in knockout duets “Who Will Love Me As I Am?” and “I Will Never Leave You,” the pair achieves particular success in crafting two distinct, and highly empathetic, characters. With the broad smile of a 1940s Hollywood beauty, Bunting gives a breakout performance as ambitious, flirtatious Daisy. Subverting her natural beauty from within, Greenland conveys the self-conscious shyness of lovelorn Violet.

Director Richard Carroll acknowledges the significance of Daisy and Violet by frequently placing them on a central platform with all other characters orbiting them. Carroll does not shy from the gritty darkness of the material, guiding the cast to explore the murky shadows of their characters and the painful consequences of their choices.

Committed performances from the cast land the story’s twists with great impact. At the end of act one, the romantic arcs are thrown completely off kilter when the sisters simultaneously discover their beaus are both unavailable. Daniel Belle, in tremendous voice, portrays manager Terry’s internal battle between his affection for Daisy and the crippling fear that prevents him coupling with her. Likewise, Gabriel Brown captures the dilemma of light-footed hoofer Buddy’s in deciding between the trappings of fame, his sympathy for Violet and being true to the guarded desires of his homosexuality. A talented triple threat with a likeable stage presence, Brown is a performer to watch in future outings.

Timothy Springs maintains a searing intensity as Jake, a character who moves from bare chested ignominy as King of the Cannibals to well heeled respectability when travelling with the girls in Vaudeville. Long before Jake confesses his true love for Violet, Springs makes the brooding character’s feelings crystal clear. Summoning the strength to confess his love and save Violet from a loveless match, Springs unleashes tremendous vocal power as he sings “You Should Be Loved.” Violet’s subsequent rejection of Jake on racial grounds is absolutely devastating.

Set designer Lauren Peters makes excellent use of the tight Hayes space in bringing Carroll’s vision for the production to life. The early side show sequence is signified by a red and white striped circus tent. As the girls move on to Vaudeville, the tent front is removed, creating a grander playing space. In a clever touch, Peters reflects the show’s focus on the twins by creating a symmetrical stage design.

Angela White tells a great deal of the story with her costume design. The twins’ road to success is charted in a series of beautiful custom made gowns that progressively increase in sophistication. The “freaks” of the side show are first seen as tantalising silhouettes, before appearing in all their gruesome glory. As the twins first tell their backstory to Buddy, they envisage the people they are describing as members of their freak show. As time melts away, members of the ensemble play multiple characters, aided in their efforts by the extensive wardrobe of costumes and wigs.

While sound reproduction at this performance improved in act two from the harsh volume in act one, there were subsequent difficulties with crackling microphones. These issues will surely be remedied promptly.

Joshua Mulheran speaks silent volumes as Buddy’s presumed lover Ray. Berynn Schwerdt is brutally insidious as side show master Sir. Michael Hart shows off an impressive physique as Human Pin Cushion, and skillfully blends into several other roles. Lachlan Martin uncovers the tender humanity behind Lizard Man, and changes roles through the show like a chameleon.

Bree Langridge performs the show’s only actual circus act, skillfully climbing and spinning on hanging fabric. Elenoa Rokobaro projects an air of exotic mystique as Fortune Teller. Versatile UK actress Hannah Waterman, recently relocated to Sydney, begins as the gruff Bearded Lady before bringing a unique vocalisation and physicality to a range of other characters.

Music theatre aficionados will appreciate the chance to see such an accomplished production of this Broadway rarity.

Side Show plays at Hayes Theatre, Sydney until 16 October 2016

Photos: Kurt Sneddon

In their final presentation for the year, Victorian Opera stimulates the eyes as well as the ears with abstract 21^st Century choral beauty Four Saints in Three Acts.

Written in 1927/28, the opera defies expectations on a number of levels. Firstly, the 60-minute work contradicts it title, in that it is divided into four acts with some 20 saints included. More significantly, far from the heroines, villains and emotionally charged storylines usually encountered in opera, Gertrude Stein’s libretto is an impalpable collage of words, chosen for their aural combinations rather than for the traditional purpose of expressing emotion and advancing plot.

Stein’s intention becomes clear as the experience of the opera unfolds. The music of Virgil Thompson is exceedingly beautiful, and, without characters and narratives to follow, the audience is free to immerse themselves in the splendour of the music and allow their minds to freely create links, themes and meaning. Efforts to focus and illicit literal significance of the text soon melts away, allowing the audience to enjoy the whimsical concept on their own terms.

Neatly adding to the nonfigurative experience is the animated 3D background created for the piece by Deakin Motion.Lab. Mirroring the absence of literal meaning in the text, the ever-evolving background scenery allows the mind to piece together its own collective interpretation. Unfolding like the spontaneous flow of images of a dream, the backdrop soars through clouds, explores a dilapidated chapel, crosses an arid post-apocalyptic desert and climbs a mighty staircase to the sky. All the while, images including a lion, a sheep, a snake and flying fish recur and, occasionally, interact. The overall 3D effect is intensified by the fact that the absence of a proscenium arch in the Merlyn Theatre allows for a massive rear projection screen.

Featuring a generous sized ensemble of 45 singers, the company for this youth opera includes young, emerging singers as the cast of Saints and a large chorus of singers primarily sourced from Victorian Opera Youth Chorus Ensemble (VOYCE). The company of young singers is grounded by the mature presence of Jerzy Kozlowski and Margaret Arnold as Compère and Commère. Experienced artists Carlos E. Bárcenas and Raphael Wong bring gravitas and vocal power to the stage.

Over and above the unusual libretto and creative imagery, the most striking element of the performance is the sheer beauty of the music. Conductor Phoebe Briggs has prepared and polished the music to a level that allows the young cast and the orchestra of 15 musicians to present the unfamiliar work with great confidence. The choral singing is nothing short of exquisite.

Casually dressed in blue jeans and white t-shirts, the chorus take photos on their cell phones as the angelically white clad Saints enter from the rear of the auditorium. This opening sequence creates a stereo effect of gorgeous sound.

With so many stimuli already at play, director Nancy Black has wisely kept movement to a minimum. As well as perfecting the harmonies, the company impresses with their mastery of the abstract libretto. Black has clearly worked closely with the singers to bring coherent expression to the deliberately nonsensical poetic style of the text.

Co-director Professor Kim Vincs has enhanced the presence of the 3D scenery by having the cast occasionally interact with the movement of images.

As well as allowing the audience to hear young singers, the youth opera also provides significant experience for young singers and musicians to work in a professional opera production. The assembled company received an additional aspect of experience at this performance, when the show was stopped and the audience evacuated due to the ill health of an audience member. The young performers not only maintained a respectful presence during the incident but also admirably threw themselves back into the final third of the opera to bring the energy and focus back to previous levels.

Four Saints in Three Acts was a unique experience for performers and audience alike. Victorian Opera is commended for sourcing such interesting material and presenting it to such a high standard. The investment in the future of young singers and musicians is also of the highest merit.

Four Saints in Three Acts played at Merlyn Theatre, The Coopers Malthouse, Melbourne on 30 September and 1 October 2016.

Photos: Charlie Kinross

The Australian Ballet takes audiences on a trip back in time, returning charming storybook ballet Coppélia to its original 1979 home at the Palais Theatre.

In sharpest possible contrast to the abstract modernity and compelling emotional force of Nijinsky, the gentle, family-friendly delights of Coppélia derive from the light hearted delivery of joyful classical dance. In this most traditional production of a most traditional ballet, the simple scenario is there to provide plenty of opportunities for celebration through dance.

The treasured production was crafted by masterful artists, including The Australian Ballet’s founding artistic director Peggy van Praagh and acclaimed designer Kristian Fredrikson. Reproducing and adding to the established choreography, van Praagh filled the Palais stage with movement, particularly during the ebullient festivities of acts one and three. Director George Ogilvie included broad, clear storytelling that could be appreciated from the far reaches of the mighty Palais auditorium.

Contributing both costume and scenic design enabled Fredrikson to match thematic colours to create an overall stage picture of great visual appeal. Attractive autumnal tones make up the predominant colour palette of the village square, where the Harvest Festival is being celebrated. Decorative details on the merry townsfolk’s costumes gives the impression of a quaint European village. Framed by the decoratively oversized gilt proscenium arch of the Palais, the production looks handsome and well proportioned.

Usually heard but not seen, the musicians of Orchestra Victoria are on show in the wide, open pit of the Palais, a design that allows the music to fill the cavernous space without impediment. Maestro Nicolette Fraillon brings out the infectious pomp of Delibes’ delightfully melodious score, with gentle brass and percussive colour being highlights of the performance.

The romance of the story was given a boost on opening night with the lead roles danced by newly engaged couple Ako Kondo and Chengwu Guo. Each of these Principal Artists was welcomed with entrance applause, and they went on to earn further acclaim as the ballet proceeded, not only dancing beautifully but also bringing out the comic elements of their characters.

Act one’s Harvest Festival see the young people of the village alternate between female, male and massed corps dances. The festive tone is shaded with just an undercurrent of intrigue, which is focused on the house of Dr Coppelius and his exquisite “daughter” on the upstairs balcony. As the act concludes, Swanilda and friends dare to creep inside the house, while Franz prepares to reach the balcony by ladder.

The work of lighting designer Francis Croese comes to the fore in act two, when multiple gleaming eyes shine through the spooky darkness of Dr Coppelius’ laboratory. When Swanilda and friends brings the life-sized toys to life, the effect is really magical. Carrying the majority of the ballet’s slender narrative, this act is expertly paced for maximum impact.

The ballet’s most famous sequence comes in act two when Swanilda takes the place of precious doll Coppélia. In a superb performance, Kondo begins with crisp, stiff doll-like actions with a wonderful gentle bobbing effect after each initial tentative move. Continuing through a series of dances as Coppelius hand her props, Kondo performs with a lovely level of radiant energy, successfully maintaining the tension of the storyline as Swanilda alternates between dazzling the deluded Doctor and taking every opportunity to frantically try to free Franz.

Essentially a character role, Dr Coppelius is a thankless role for Principal Artist Andrew Killian, who acts the full range of the role but is giving precious little dancing to do.

Act three brings a splash of additional colour as the female corps dance in turquoise with moon and star trim, a motif that links the design to the mysticism of original work. A highlight of act three is the exquisitely slow dance by Swanilda and Franz’s friends. Dressed in white, this group is luxuriously cast with a generous number of Senior Artists and Soloists. Another lovely highlight comes with Principal Artist Robyn Hendricks’ angelically ethereal work in the Prayer solo.

Celebrating their wedding, Swanilda and Franz perform a grand pas de deux that is beautifully slow and measured.

Playing a plucky lad is an ideal fit for Guo’s boyish charm. His solo work following the grand pas de deux is characteristically spectacular, giving the fleet footed star the chance to dazzle with the speed of his pirouettes and the seemingly effortless height and feather-light landings of his leaps.

Coppélia is ideal family entertainment, perfectly timed for the current Melbourne school holidays.

Coppélia plays at Palais Theatre, Melbourne until 1 October 2016 and plays Joan Sutherland Theatre, Sydney Opera House 2 – 21 December 2016.

Photos: Jeff Busby

Dream direction, dream music and dream casting align to make world premiere Australian musical Dream Lover a theatrical dream come true.

In classic 1957 musical The Music Man, lead character Harold Hill sings 7 songs; in Dream Lover, Bobby Darin sings 34. Over and above the wonderful contributions of an army of designers and performers, David Campbell’s phenomenal performance as Bobby Darin is an extraordinary achievement. Barely off stage all night, Campbell’s charismatic presence and nuanced characterisation make nice guy Darin into a compelling figure. Campbell’s vocals range from tender to smooth to powerhouse, topped off with an incredible belt in 11 o’clock number “Who Can I Turn To?”.

The latest entry in the bio-musical category, Dream Lover is not only blessed with an extensive catalogue of sensational songs but also has a meaty story to tell. The confidence, vision and flair of director Simon Phillips ensure this story is told with slick sophistication.

Based on the original concept and stage play of John Michael Howson and Frank Howson, the new musical has been adapted for the stage by Phillips and frequent collaborator Carolyn Burns. The narrative fairly zips along, deftly fleshing out supporting characters and delivering dramatic twists without a hint of melodrama.

The contribution of musical supervisor Guy Simpson is intrinsically linked to this creation, with many songs interspersed with dialogue to create modern musical scenes. The epic song list for the show contains some 46 titles. Big hits like “Splish Splash,” “Mack the Knife,” “Beyond the Sea” and “Dream Lover” are performed in full, but it is the carefully chosen snippets of songs that give the show additional colour.

Musical director Daniel Edmonds brings Simpson’s orchestrations and vocal arrangements to life as he presides over a smoking hot 17-piece big band. The value of the musicians is signified by the all too rare inclusion of their headshots and biographies in the souvenir program.

The musicians perform on stage, arranged in a glossy bandstand that is a key element of Brian Thompson’s set design. A series of overhead arches brings to mind the Hollywood Bowl, and a multitude of scenes are seamlessly created downstage with the simple addition of items of furniture.

Lighting design, by Paul Jackson, is fundamentally linked to scenic design, with hundred of globes embedded in the set. The range of different looks and moods that Jackson is able to achieve is quite amazing.

The fact that the show has a single set is put to good use in a key sequence that opens act two. At the height of his concert fame, Darin’s marriage unravels as he drags wife Sandra Dee on a tour on which he performs song after song at venue after venue that all look the same.

The close collaboration of the creative team is further revealed by the importance of the work of costume designer Tim Chappel in the story telling. With a fixed scenic design, it is the ever-changing fashions and hairstyles that convey the time period, the degree of Darin’s success and the style of venue where Darin performs. Chappel maintains a sense of naturalism in the daywear, then unleashes stylised glamour for the stage costumes. Highlights include the ostentatious feathered showgirl outfits in Vegas, and the indigo hued stars and stripes overall for Darin’s later era.

Likewise, choreographer Andrew Hallsworth creates dance that reflects the various decades and formats. With his trademark precision and wit, Hallsworth propels Darin’s career from cheesy television dancers to flashy Vegas showgirls, and from dapper, black-clad Fosse disciples to cheerfully enthusiastic 1970s dancers.

The show begins with its finale. Damaged by childhood illness, Darin’s heart gives way, leading to his untimely death at 37. His spirit reunited with his mother Polly, the story rewinds to the plucky Harlem household where Darin was raised.

Early exposition is briskly entertaining thanks to the presence of international stage star, and national treasure, Caroline O’Connor as former showgirl Polly. A ghostly Darin watches his younger self being cared for and encouraged by mother Polly (O’Connor), sister Nina (Marney McQueen) and her partner Charlie (Bert LaBonte). “As Long As I’m Singing” is an early example of an integrated song that propels the action along.

The show wastes no time establishing Darin’s success. For a clever, highly talented man with a ticking clock hanging over his life,  “I’m Gonna Live Till I Die” is an ideal mantra.

While the spotlight never strays from Darin, concise writing and savvy design create a clear and affecting arc for Sandra Dee. Talented singing actress Hannah Fredericksen is set to be an “overnight” success as Dee, taking the character from sheltered starlet to drunken neglected wife to confidently rehabilitated divorcée.

O’Connor doubles her value, also portraying Dee’s driven stage mother Mary Douvan. O’Connor successfully establishes two distinct characters, contrasting the warmth of gutsy battler Polly with the icy heart of snooty stage mother Mary.

As Darin’s good-natured long-term manager Steve Blauner, ever youthful stage veteran Martin Crewes creates sparks opposite Campbell and O’Connor. As Darin and Blauner celebrate the long awaited booking at Copacabana, Campbell and Crewes raise the energy with terrific duet “The Best Is Yet To Come.”

LaBonte and McQueen give masterfully unshowy supporting performances. As Darin’s father figure Charlie, LaBonte brings palpable warmth as he establishes Charlie’s tender admiration and unwavering affection for Darin. McQueen’s role is a slow burn, a seemingly minor character who maintains a gently supportive presence until a climactic scene in act two that transpires after Darin has decided that the next frontier to conquer is politics.

Direction, writing, music and performance reach a highpoint in this crucial scene, in which a long-kept family secret is revealed. While many of the audience may already be aware of the twist, the scene is played with such raw truth that it cannot help but be affecting. McQueen and O’Connor sing the gorgeous ballad “More,” and Campbell’s Darin inconsolably deflates before our eyes.

While appearing in an ever-changing myriad of guises, the highly experienced members of the ensemble have plenty of opportunities to let their talents and their natural stage personas shine through.

Dream Lover was always going to be a toe-tapping nostalgia trip. The theatrical integrity of the production and Campbell’s powerhouse performance make it a must see musical.

Dream Lover plays at Sydney Lyric Theatre until 13 November 2016.

The Dream Lover cast recording is available on iTunes.

Photos: Brian Geach

CLOC Musical Theatre revives Melbourne favourite Jesus Christ Superstar in an intense, imaginative, intelligent production.

On par with the conceptual update of an opera, director Shaun Kingma has brought a unique vision to Jesus Christ Superstar, allowing the familiar work to be seen in a fresh and compelling light. This concept has been fully realised by a top creative team and is performed by a tightly focused, supremely talented cast.

As indicated by the marketing phrase “A New World – A New Beginning,” the production is set against a post-industrial landscape of fractured metal and frightened people. Leading a band of underground rebels, Jesus is vilified by high Priests who fear losing their power. As well as maintaining a high level of visual interest by choreographing almost constant scenic, actor and lighting movement, Kingma has also crafted a backstory for the central characters, unfolding a series of bridging flashback scenes that show how Jesus, Judas and Mary originally joined forces as children.

A hallmark of Kingma’s direction is the consistency of performance style and performance level from the large cast. All on stage are clearly tuned in to the concept, and there is an abundance of interesting relationships and connections to observe. Key scenes that are staged particularly well include Judas’ death, the 40 lashes and the crucifixion itself. Kingma has brought out an affecting, raw intensity from the actors in these scenes that is, at times, almost painful to watch.

Kingma also contributed the darkly dangerous looking set design. The intricate, continual movement of the scenery is controlled with typical CLOC accuracy by the stage crew, under the watch of stage director Paul Belli and stage manager Sandra Davies. Brad Alcock’s lighting design is fundamentally linked to the scenic design. Alcock adds significantly to the ever-evolving stage picture, creating walls of light, dappled texture and also inky blackness from which lepers, traders and solemn priests appear.

Kingma is supported by choreographer Tamara Finch, who judiciously contributes elements of dance while helping to fill the large stage space with purposeful and engaging movement.

Victoria Horne has set aside her flair with sequins to design gritty, layered costumes that bring the re-imagined world to vivid life. With just a monochrome palette of dark, neutral tones, Horne creates ongoing visual interest with rich fabrics and detailed accessories. Such is her flair for furs, horns and armour that CLOC should firm up Horne’s contract in case she is snaffled away by Game of Thrones.

Musical director Tyson Legg, hidden away in the fully enclosed orchestra pit, leads 15 musicians in a sharp, electric rendition of the well-known Andrew Lloyd Webber score. Legg also contributes an eerie soundscape for the interpolated flashback scenes. Ensemble harmonies are very well prepared, and it is wonderful to hear them sung by a cast that is far bigger than a professional production could afford.

Legg and Kingma are blessed with a lead cast with incredible voices. While there is an excitement to hearing powerful rock vocals, there is a slight loss of impact when too much of the music is performed by the lead singers at blazingly loud levels. Some vocal light and shade, so to speak, may have made for a more balanced vocal execution.

Daniel Mottau is an extraordinary find as Jesus. Ruggedly handsome yet also capable of transmitting the purity and serenity of Jesus, Mottau is completely believable as a troubled, magnetic figure, and his singing is superb.

Scott MacKenzie throws himself completely into the role of Judas, creating a blaze of energy whenever he is on stage. While MacKenzie occasionally puts power ahead of diction in his vocals, his dramatic intention is always clear. MacKenzie’s interpretation of the unsettled character creates sympathy and understanding despite the tragic betrayal that transpires.

Katie Weston skillfully balances strength and vulnerability in Mary, presenting a capable, independent woman who is torn by her perceived weakness of romantic feelings. A poised performer and tender singer, Weston sings well-known hits “Everything’s Alright” and “I Don’t Know How to Love Him” beautifully.

Ian Andrew is another terrific discovery in the cast. Hailing from Adelaide, Andrew makes a memorable impression as solemn leader Pilate. At his best when singing in a softer, more controlled voice, Andrew is an accomplished actor, contrasting his powerful physique with the self-doubt and understated angst of Pilate.

Henry Shaw has the startlingly deep bass voice to convey the pervasive power of high priest Caiaphas. With a back-story to explain his character’s Wotan-like eye patch, Scott Hili brings additional depth to glowering high priest Annas.

The darkness of this production even extends to “King Herod’s Song,” which is presented as a confronting scene in which aggressive despot Herod hobbles about on his artificial metal leg. Herod and his minions breathe from gas masks and clearly exist in a realm of their own away from the other tribes. Adrian Carr is ferocious as Herod, completing the dastardly characterisation with a wicked twinkle.

Jesus Christ Superstar is performed all too rarely, and quality this good is even rarer. Attendance is highly recommended.

Jesus Christ Superstar plays at National Theatre, Melbourne until 22 October 2016.

Photos: Ben Fon

OSMaD takes audiences back to Broadway’s Golden Age, for a slick and glossy, yet respectfully traditional, new production of tuneful musical comedy The Pajama Game.

With a strong book by George Abbott and Richard Bissell, and a trunk full of hit songs by Richard Adler and Jerry Ross, The Pajama Game is well deserving of being given a loving polish and shine. OSMaD (Old Scotch Music and Drama Club) reunites the terrific creative team from their productions of The Music Man and The Producers to create the dynamic direction, lush music and energetic choreography needed to bring increasingly rarely staged gem roaring back to life.

The success of the production can largely be credited to director Richard Perdriau, whose exacting approach and creative vision have brought the very best in the cast, particularly in regard to the daffy, big hearted performance style required for a characterful comedy like The Pajama Game. Vocal shape and body language have a very strong period feel, and Perdriau has guided the 28-strong cast in shaping a full set of colourful, loveable characters.

As set designer, Perdriau is also responsible for the gorgeous look of the production. The single set features an abstract industrial background that befits the primary focus of the factory setting. At home and at play, the Sleep Tite pajama factory still looms large in these characters’ lives. Scenes are created with the addition of furniture, much of it impressively authentic to the period. Perdriau also enlivens the visual picture by adding a series of projected retro-style advertisements. Featuring members of the cast as models, these advertisements are wittily crafted, and add a gentle touch of subtext to each scene.

Danny Issko’s lighting design is a key factor in the stage design, with stage legs featuring festively coloured backlit panels, and the rear cyclorama taking on various shades of rich colour. Lighting establishes various scenes as the story progresses, with spotlights used effectively to pinpoint relevant characters in the large scenes. The wash of red light for Hernando’s Hideaway captures the exciting vibe of the playfully exotic nightclub.

Musical director Ben Hudson presides over a sensational orchestra of 25 players. Playing in the capacious pit of the Geoffrey McComas Theatre, the orchestra provides a lavish quality that is rarely heard in commercial music theatre, bringing out the full colour and sparkle of Adler and Ross’ melodious music. Hudson also delivers tight harmonies and crisp diction from the company.

Choreographer Louisa Mitchell has clearly worked closely with director Perdriau in staging dance breaks that flow organically from scene and character. Sophisticated opening number “Racing With The Clock” gives every player a purposeful job and position in the factory. Ebullient act one showstopper “Once A Year Day” conveys the pent up zest of the factory workers as they enjoy their annual picnic. “Steam Heat” is staged with a nod to the original Fosse style but with its own original choreography that blossoms from the trio into a full company extravaganza.

Chloe Thomas’s wonderful costume design is as attractive as it is accurate. Enhanced with well-styled wigs, female characters sport 1950s dresses at work and cavort in capri pants at play. The stiff styles of menswear are enlivened with colourful fabrics and sharp patterns.

As plucky leading lady Babe, Emily McKenzie has a gorgeous vocal tone. McKenzie deftly balances Babe’s dewy-eyed romantic tendencies with her resilient and feisty independence, creating a rounded, endearing heroine with a spine.

Nathan Wright is very well cast as new factory superintendent Sid Sorokin, bringing a distinctly masculine strength to the role. Wright has an authentic baritone that is a pleasure to hear in songs such as “Hey There.”

Wright and McKenzie enjoy strong chemistry, which really soars in spirited duet “There Once Was A Man.”

Triple threat Kristy Griffin is a daffy delight as zany secretary Gladys, all the funnier for her well-judged restraint as the comedy broadens. Griffin’s squeaky tone is a hoot and her dancing is first rate. Griffin is well supported by Jason Mill and Jacob Sellenger in iconic dance number “Steam Heat.”

Jeremy Russo throws himself into the role of nervy knife thrower Hines, landing plenty of laughs whilst also keeping the character real. Russo has the difficult task of engaging the audience when he appears on stage alone at the top of the show; his success in this sequence sets a high standard for the show that follows.

Nathan Slevin brings an infectious energy to wacky factory worker Prez, staying immersed in the character through all his singing and dancing. The running joke of Prez’s squeal as new squeeze Mae (Emma Harris) tweaks his nipples is quite hilarious.

The company is full of strong performers, all singing and dancing with terrific precision an flair, and maximising the impact of their cameo roles. Special mention to Jay Miller for his focus and flair in the role of uptight salesman Max, and to Nicole Kapiniaris for providing an exotic vibe while avoiding stereotypes as Spanish factory worker Carmen.

Lovers of good old-fashioned Broadway musicals will be sure to enjoy this lovingly staged production of The Pajama Game.

The Pajama Game plays at Geoffrey McComas Theatre, Hawthorn until 22 October 2016.

Photos: Gavin D. Andrew

StageArt raises the bar again as they present a superb cast and pristine staging for the long awaited Australian season of The Color Purple.

Originally staged as a lavish Broadway production in 2005, The Color Purple was trimmed and streamlined at London’s Menier Chocolate Factory in 2013 before returning to Broadway late last year. The revival eschewed spectacle to turn the focus exclusively onto the characters, a move that has enjoyed great success. This Australian production is based on the updated version of the show, which receives its own original staging here in Melbourne.

Based on Alice Walker’s 1982 novel and Steven Spielberg’s 1985 film, the musical The Color Purple, by Marsha Norman, Brenda Russell, Allee Willis and Stephen Bray, is a joyful celebration of the strength of the human spirit in the face of oppression and adversity. In the relative intimacy of Chapel off Chapel, the audience experiences a strong connection to the characters, and the crushing blows and soaring joys of the story are keenly felt.

In a company of excellent singers, Jayme-Lee Hanekom gives an extraordinary lead performance as dear Celie. Projecting a humble yet highly magnetic stage presence, Hanekom balances Celie’s tender vulnerability with her resilient strength, winning the heart of every audience member with her open, expressive face. Producing surprising vocal power from her petite frame, Hanekom raises the roof in Celie’s anthems “What About Love?’ and searing 11 o’clock number “I’m Here.” This is a performance for the ages and is not to be missed.

Director and set designer Robbie Carmellotti makes excellent use of the space, designing a two-tiered stage with a large square wooden platform resting orthogonally on another large wooden square. This creates a natural focus for centre stage action, while also providing interesting levels for ensemble scenes. Scenes flow seamlessly, with various locations simply represented by a set of wooden benches.

Carmellotti’s casting serves the characters very well. The talented, well-chosen performers not only create a lively set of distinct identities but also appear to be imbued with a special warmth and joy that serves to enhance the overall experience. There is plenty of story to tell in The Color Purple, and Carmellotti has ensured the events transpire with clarity and impact.

Loving sisters Celie and Nettie are parted by Celie’s appalling husband, who is simply known as Mister. In a miserable household, Celie soon comes to love Mister’s awkward son Harpo, Harpo’s feisty wife Sofia, Harpo’s new girlfriend Squeak and Mister’s long-term flame, exotic singer Shug Avery.

With Nettie missing for much of the show, Carmellotti has the clever idea of having her act as the mailbox, to emphasise the fact that Nettie is still trying to communicate with her beloved sister. As the decades pass, Carmellotti trusts the strong acting talents of his cast to show aging and injury rather than relying on make-up effects.

Music director Caleb Garfinkel creates a rich accompaniment with a tight band of only five musicians. Vocal performance is a highlight of the production, and is clearly a result not just of talent but also of meticulous preparation. The vocals are boosted by three pit singers, and it is a credit to these singers (Gina Mets, Aaron Taylor and Casey Withoos), Garfinkel and sound designer Marcello Lo Ricco that these additional vocals blend so smoothly and unobtrusively. Lo Ricco engineers a sound design that would be the envy of any other independent production that thinks sound is an area where money can be saved.

Lighting is integral to the visual appeal of the production, with the rural, basic housing suggested by the wooden frames complemented by multiple hanging light globes, which also create a warm, attractive glow. Lighting designers Jason Bovaird and Maddy Seach also aid the cinematic flow of scenes and draw attention to key singers in large ensemble scenes.

Completing the polished look of the production are the beautifully constructed costumes, designed by Rhiannon Irving. The initial muted neutral palette allows performers to slip between roles where necessary. Early in act two, Celie imagines life in Africa, and the vivid, well-researched costumes here are stunning. Finally, Irving has fun creating the playfully coloured range of Miss Celie’s Pants.

Thando Sikwila shimmers with sensuality as sultry singer Shug Avery. Celebrating her voluptuous figure, Sikwila plays Shug as a decadent goddess who attracts, and tempts, everyone she encounters. Sikwila’s initial scene as the ailing Shug is convincing. Vocally, Sikwila demonstrates the range to deliver showstoppers, such as fabulous production number “Push Da Button,” and intimate ballads, such as the gorgeous title song “The Color Purple.” Sikwila’s magnanimous stage presence allows her to enjoy chemistry with each of the actor’s playing Shug’s loves.

Vanessa Menjivar plays resolutely assertive Sofia with a delightfully wicked twinkle in her eye. Sofia’s journey provides some welcome humour as well as some very moving pathos, and Menjivar takes all styles in her more than capable stride.

Iopo Auva’a adds to the comic relief as Sofia’s vacillating husband Harpo. Auva’a easily gains the audience’s affection as Harpo struggles between good intentions and male pride. Menjivar and Auva’a have great chemistry, and are rewarded with a saucy final duet, “Any Little Thing,” that would have done Ado Annie and Will Parker proud.

Anna Francesca Armenia gives another performance of great warmth as Nettie, tracing the character’s journey from sprightly optimism to patient resilience to ultimate joy. Armenia and Hanekom establish the heart of the show in their early scenes as devoted sisters. Armenia suggests a wisdom beyond her years with the compassion and insight that shine through her eyes.

Kendrew A. Heriveaux handles the atrocious behaviour of Mister with a controlled composure that indicates the actor’s separation from the character’s actions. On opening night, Heriveaux stumbled on words occasionally, but is sure to grow in confidence as the season progresses. His gracious work in showing Mister’s ultimate humility was suitably affecting.

The narrative and context of the story are telegraphed in highly entertaining style by three local women, whose judgmental eyes see all. Noelani Petero (Doris), Anisha Senaratne (Jarene) and Sasha Hennequin (Darlene) are wonderful in these roles, particularly with their achievement of making each member of the trio a distinct character. Petero also delivers blistering vocals at the top of the show as the Church Soloist.

Zenya Carmellotti is adorable as self-serving newcomer Squeak, who happily takes up with Harpo when Sofia is absent. Carmellotti’s perky energy aids her creation of this sassy role.

With the cast size of the initial Broadway production halved, each member of the company has their moment to shine in a featured role. Further terrific support comes from Augustine Tchantcho, James Ao, Guillaime Gentil, Benjamin Samuel, Tsungirai Wachenuka and Gideon Wilonja.

Do not miss The Color Purple. Book a ticket while you can, and don’t forget to take along a tissue.

The Color Purple plays at Chapel off Chapel, Melbourne until 6 November 2016.

Photos: Belinda Strodder

A dazzling production and terrific cast gloss over inherent weaknesses in Kinky Boots as the 2013 Broadway hit makes its Australian premiere.

Based on a little known 2005 English film, Kinky Boots follows The Producers, Dirty Rotten Scoundrels and Catch Me If You Can in focusing on a platonic relationship between two men. Book writer Harvey Fierstein is in his element writing for feisty drag queen Lola and her Cagelles Angels, spreading an admirable, if not overly original, message about accepting people for who they are.

In a British working class setting not unlike that in The Full Monty and Billy Elliot, upwardly mobile young university graduate Charlie Price promptly finds himself called back from his new life in London to manage affairs at his deceased father’s shoe factory. After a chance interaction with Lola reveals the niche market Charlie needs to save the factory, the pair joins forces to produce a range of kinky boots.

Fierstein’s trademark zingers help to enliven the dialogue scenes, but the narrative struggles in act two when an uncharacteristic tantrum from Charlie derails production at the factory. This contrived conflict is magically solved soon after, and then it is full steam ahead to the upbeat ending.

With significant support from Stephen Oremus, who was responsible for music supervision, arrangements and orchestrations, composer Cyndi Lauper’s pop-infused music has successfully taken on the sound of a big Broadway musical. The music is instantly accessible, although few melody lines tend to linger in the memory. Sound design, by John Shivers, is wonderfully immersive. Less effective are Lauper’s leaden lyrics, which often include endlessly repeated phrases that do nothing for storytelling. A highlight of the score is Lola and Charlie’s paternal reflection “Not My Father’s Son,” which is a gorgeous, touching ballad.

There really is nothing like having a director/choreographer at the helm of a musical, and there are precious few who perform these combined roles with more panache than Jerry Mitchell. Keeping energy high, Mitchell choreographs the flow of production elements as smoothly and organically as he choreographs the cast. Each member of the company plays a distinct character, and Mitchell establishes and maintains these with confidence and flair.

Given the potentially mundane setting of a shoe factory, scenic designer David Rockwell has inventively created a towering world of coloured glass panes and tactile brick and steel, in which a range of scenes are created with fluid ease. Rockwell clearly worked closely with lighting designer Kenneth Posner to embed a myriad of lights in the set, particularly for Lola’s drag club numbers and for the climactic Milan fashion parade. Posner’s lighting adds glamour and pizazz, also serving to effectively hide elements of the set in darkness to create differing locations as the story proceeds.

Costume designer Gregg Barnes contributes further visual sparkle, offsetting the realistic daywear of the factory workers with the witty, slinky, ever-changing drag outfits. And the kinky boots themselves are decadently glamorous.

While it is always disappointing when imported artists are employed, it cannot be denied that British performer Callum Francis makes a magnificent Lola. Balancing bravado and vulnerability, Francis deftly and entertainingly creates an endearing, rounded character. An accomplished triple threat, Francis moves with sensual confidence and delivers both tender and powerhouse vocals.

In an exciting breakout performance, Toby Francis projects a charming, dynamic stage presence as likeable lad Charlie, successfully making the role more interesting than simply a nice guy. Francis has a lovely light tenor voice, and also flips to a soaring belt with ease.

Talented young actress Sophie Wright is slightly hamstrung in the role of Lauren, being required to reproduce the Tony-nominated performance of original portrayer Annaleigh Ashford. Having demonstrated fresh, exciting flair a couple of months ago on the same stage as Kate Monster in Avenue Q, it is intriguing to think what Wright could have brought to the quirky role with her own interpretation.

Versatile actress Teagan Wouters is unfortunately not given the opportunity to display her impressive singing voice in the thankless role of Charlie’s snooty fiancée Nicola. Nathan Carter delivers an impressive character arc in the supporting role of formerly repressed factory foreman George. Imposing Canadian actor Daniel Williston guest stars as stubborn meathead Don while ensemble member Joe Kosky prepares for his big career break when he assumes the role of Don next month*.

Of the many strong players in the ensemble, Emma Powell displays unfailing comic timing as down-to-earth factory employee Trish.

The chance to see a new Broadway musical is always a welcome one. The general theatre-going public are sure to leave Kinky Boots on a giddy high.

Kinky Boots plays at Her Majesty’s Theatre, Melbourne.

Photos: Matthew Murphy

*Andrew Lloyd Webber, if you are reading, Kosky is your leading man for the inevitable Australian production of your new smash hit musical School Of Rock.

The quality of the original score does its best to shine through, but the wattage of this “reimagined” staging of Godspell is severely dimmed by condensed casting and muddy focus.

There is a long established expectation associated with seeing a musical at Arts Centre Melbourne. While it is admirable indeed for the institution to support smaller scale productions, there is a risk of damaging the brand if a low budget and a relatively inexperienced cast prevent a production from delivering what is expected.

As a 1970s concept musical, Godspell is open to interpretation. Already a small show, the cast is reduced here to a mere four performers. The four musicians boost cast numbers by taking part in scenes when not playing their instruments, but these very talented young musicians are not actors, and the diminished cast size robs the show of its chemistry and synergy.

The 2011 Broadway revival of Godspell delivered gorgeous new orchestrations and arrangements of the much-loved Stephen Schwartz score and enlivened the story telling with inventive creativity. Unfortunately, the band is not quite able to reproduce these new orchestrations, and there are not quite enough singers to do full justice to the new vocal arrangements. Gorgeous new song “Beautiful City,” heard in the excellent 2013 Magnormos one night concert of Godspell, is not included in this production.

Varied storytelling devices, such as charades, are included in the revised script, and director Glenn Elston uses these without really adding further sparks of imagination. The improvisational feel is successfully created in act one, but there seems to be a disconnect with the source material and the messages of the show. The lightweight, unfocused nature of the presentation of parables in act one impedes the transition to heavier drama in act two. This is compounded by the casting of a far more charismatic actor as Judas, meaning that the role of Jesus is completely overshadowed in act one. When Jesus comes to the fore in act two, neither the audience nor the cast has developed/displayed any attachment to him, squandering the potential impact of his tragic fate. The lack of cast members also gives Jesus no disciples to speak to, so his messages are addressed to the audience, making for an uncomfortably preachy feel.

Elston has designed the production, giving it a grungy, back to basics feel that suits the 1970s rock style of the score. There are some colourful flourishes of costume and the stenciled metal drums give an attractive glow. Overall, the generic costuming and abstract scenic design make it difficult to determine the intention of time and place. More of a commitment to a specific identifiable concept may have galvanised the focus and drive of the piece.

Highly experienced actor Mark Dickinson brings gravitas and confidence to his roles of John, Judas and ensemble member. Dickinson’s rich baritone is a pleasure to hear, and he contributes many of the funniest moments with his cheeky side comments. A full cast of music theatre performers of this calibre would have made for a very different outcome for the production.

Christopher Southall showcased his impressive flair as a character actor to perfection earlier this year when StageArt presented Titanic. Unfortunately, Southall does not have the magnetic presence to play Jesus, and his efforts are further hampered by basically being part of the ensemble in act one. Hopefully Southall’s next stage outing will see him back in a role more closely aligned to his talents.

Part of the beauty of a performance of Godspell is the opportunity for each member of an ensemble cast to have their moment in the spotlight. Having just four lead performers sing all the songs takes away some of the variety and interest. Young actors Bonnie Anderson and Louisa Fitzhardinge each have very good singing voices, with Anderson capable of modern pop belting and Fitzhardinge having a very sweet tone. With a lack of direction, these performers have not had the chance to fully develop a sound understanding of the background and substance of the material, a problem that restricts the quality of the production overall.

In a canny piece of stunt casting, the producers have enticed original Australian Godspell star Colleen Hewett to appear as a guest star in this season. The wait for Hewett to appear is a little distracting, but well worth it for the chance to hear her earthy, soulful tones. While Hewett’s appearance in the last couple of minutes of the show gives proceedings a much needed lift, it almost seems a little unfair that the efforts of the cast who have performed the entire show are gazumped Hewett’s star presence for the finale and curtain calls. Still, it is genuinely a thrill to see Hewett in action again as she revisits one of her all time career highlights.

Godspell plays at Fairfax Studio, Arts Centre Melbourne until 6 November 2016

Perfectly cast and handsomely staged, the Melbourne professional premiere of exquisitely romantic gem The Light in the Piazza shimmers with radiant beauty.

The rare adult musical that treat its audience’s intelligence with the utmost respect, 2005 Broadway hit The Light in the Piazza has an operatic quality to the elegance and splendour of its score. In a notably strong Broadway season that also produced Spamalot, The 25^th Annual Putnam County Spelling Bee and Dirty Rotten Scoundrels, the six Tony Awards for The Light in the Piazza included Best Score for Adam Guettel, grandson of Richard Rodgers.

Building upon the deceptively simple premise of a mother and daughter holidaying in Italy, the musical builds to examine the inexorable power of love and the rewards to be gained by approaching new experiences with courage and an open mind. The love story belongs to wide-eyed young beauties Clara and Fabrizio, but the heart of the story lies in Margaret Johnson’s transformative journey of self-discovery as she escapes a loveless marriage and a repressive genteel society.

Director Theresa Borg shows an impeccably assured hand in securing honest, empathetic performances from her cast and telling the story in a captivating and affecting manner. Lovers of the sumptuous cast recording may be unaware of the delicious humour in the show. Based on the 1962 movie, which was in turn based on a 1960 novel, Craig Lucas’ book establishes seven richly drawn lead characters and explored the cross-cultural conflicts that arise between visiting wealthy Americans and a conservative Florentine family.

Following their high standard set with Passion and City of Angels, Life Like Company has mounted a handsome staging, with production values that belie the all too brief season. Set designer Tom Willis cleverly represents the Johnsons’ travels with an ever-changing collage of oil paintings. Willis also contributes the lighting design, which paints streetscapes and intimate rooms to striking effect. Lighting cues for Margaret’s candid asides to the audience are handled with crisp accuracy.

Complementing the grand stage design is the gorgeous 1950s fashion parade by Kim Bishop. Bishop has excelled himself, not just with the stunning designs but also with the pristine construction of so many truly beautiful costumes. Margaret and Clara must have quite the set of trunks, such is the extent of their glamorous wardrobe. Highlights include Margaret’s orange sherbet pleated chiffon dress and her final dark green brocade gown with shimmering black bolero jacket. Fabrizio’s mother is chicly attired in dramatic black, and his sister-in-law Franca maintains a curvy silhouette in siren red.

The score of The Light in the Piazza also won a Tony Award for Best Orchestrations, performed superbly here by an orchestra of 16 musicians lead by exacting musical director Vanessa Scammell. Extensive use of the harp conveys the sense of rapturous wonder on stage. Sound design by Andrew Poppleton balances orchestra and singers for excellent clarity. The musical will be unfamiliar to many theatregoers, so it is a blessing that Guettel’s lyrics are heard so clearly.

Borg’s carefully considered use of a tight ensemble to suggest ongoing life in Florence is ably supported by choreographer Jo-Anne Robinson. Robinson also stages the delightful scene in which Fabrizio’s caddish brother Giuseppe schools him in dirty dancing.

Chelsea Plumley gives the performance of a lifetime as Margaret, holding the audience in her palm as the dear woman moves from unintentional racist and well intentioned protector to cultured woman of the world and gracious mother of the bride. Plumley sings the soprano role beautifully and delivers her lines with a delectably accent, but it is her expression of the unspoken fear and unfolding love in Margaret’s heart that is the true hallmark of the quality of her performance. Plumley unleashes all of Margaret’s inner joy as she sings divine 11 o’clock number “Fable.”

The production is well served by the discovery of two thrilling young music theatre talents to play dreamy lovers Clara and Fabrizio. Genevieve Kingsford has an exhilarating soprano with a gorgeous crystalline tone. Kingsford’s delivery of Clara’s I wish song “The Beauty Is” sets the standard for an evening of wonderful singing. An equally strong actress, Kingsford portrays Clara’s nervy meltdowns with a chilling sense of truth and a complete absence of melodrama.

Similarly talented young tenor Jonathan Hickey soars as eager student Fabrizio, who epitomises the expression of falling head over heels in love. In a masterstroke of authenticity, Fabrizio’s first big ballad “Il Mondo Era Vuoto” is sung entirely in Italian. With no need for subtitles, Hickey deftly conveys all the meaning and passion in the song.
Hickey and Kingsford enjoy magnetic chemistry, and their youth serves the story of first love to perfection.

The experienced supporting cast includes Anton Berezin and Johanna Allen as Fabrizio’s parents Signor and Signora Naccarelli. The role gives precious little chance to hear Berezin’s superb singing voice, but he plays the key role with consummate understated flair. Allen nails the delicious act two opener “Aiutami,” in which Italian-speaking Signora Naccarelli breaks the fourth wall to inform the audience, in perfect English, each of her family members’ inner thoughts.

As Fabrizio’s tempestuous brother and sister-in-law Giuseppe and Franca, Josh Piterman and Madison Green bring out a myriad of tiny details that shine light on the ebb and flow of a troubled marriage. Piterman exhibits suave flair as Giuseppe; it is just a shame that the score does not allow us to hear his wonderful tenor. Green shines in the intriguing ballad “The Joy You Feel” as Franca mines her own relationship to pointedly advise Clara on love.

Jeremy Stanford neatly establishes an entire character with two brief cameo scenes, playing Margaret’s increasingly insignificant husband Roy, whom she telephones from Italy.

Ensemble members Colin Dean, Tobias Madden and Ashleigh Haushchild provide strong support as they play a number of varied background roles.

This production is a gift to be cherished. Drop everything to see The Light in the Piazza.

The Light in the Piazza plays at Playhouse, Arts Centre Melbourne until 6 November 2016.

Photos: Ben Fon

Maury Yeston’s ravishing score for Nine the Musical was finally heard in Melbourne again last night in an impeccably staged concert with a superb cast.

Clearly a labour of love for all involved, the one-night-only concert of Nine the Musical was rehearsed and staged at a standard well above concert presentations of a similar, or longer, season. The stage of Elisabeth Murdoch Hall was brimming with 75 artists, all of whom had donated their talents for this Think Pink fundraiser.

Music theatre aficionados of a certain vintage have cherished memories of the original 1987 Melbourne season of Nine, which starred John Diedrich, Maria Mercedes, Peta Toppano, Nancye Hayes, Caroline Gillmer and Gerda Nicholson. Long before the current international rollout of franchised productions of Broadway hits, the Australian staging of Nine was the relatively rare chance to see a new, post-Golden Age musical for adults.

With Yeston’s divine score decimated truncated to eight of the original songs, the 2009 Hollywood movie remains a disappointment to lovers of the musical. This lingering sense of disappointment made last night’s triumphant concert even more of a welcome gift. A lavish orchestra of 29 players and a huge cast of lead performers, chorus members and dancers allowed the show to be seen and heard on a grander scale than before.

Elisabeth Murdoch Hall is designed for acoustic performances, and spoken dialogue can be particularly wooly in the space. While there were occasional moments of imbalance in Wil Burston’s sound design, the majority of the music sounded glorious. Storytelling was aided by the simplicity of the straightforward scenario, which follows a famous filmmaker struggling to find inspiration for his next movie.

Director Stephen Wheat staged the concert with deft confidence, presenting a fully acted performance. The quality was enhanced by the fact that all actors and singers had memorised the book and music, a very impressive feat for a one-night concert.

With the large chorus neatly seated alongside the orchestra, set designer Christina Logan-Bell signified the individuality of the eight key women in film director Guido Contini’s life by seating them on eight distinctive chairs. Costume designer Katrina Sparkle dressed the women in the timeless chic of black and white. Completing the appealing visual stage picture was the excellent lighting design of Jason Bovaird, which gave a grandly epic feel to the stage. A standout moment was the luscious haze of magenta that accompanied Guido’s sultry mistress Carla as she took centre stage to deliver “A Call from the Vatican.”

Music Director David Wisken had prepared the chorus harmonies to exactingly high standards. As performed by 29 talented musicians, the lush, richly expanded orchestrations were a joy to hear. A particularly impressive facet of Wisken’s was his ability to quickly and smoothly restore timing if any of the lead singers slipped slightly ahead of or behind the musicians. (It must be noted that such moments were not only rare but were also surely only perceptible to those who are very familiar with the score.) Intricate full company number “Grand Canal” was just one of the musical highlights of the evening.

One disappointment was the absence of ensemble song “The Germans at the Spa,” a rousing number featuring infectious counter melodies. Despite being a long-time personal favourite, it does become clear that the absence of the number keeps the focus squarely on Guido and his inner circle of significant women.

Energy was raised in act one with input from choreographer of choice Michael Ralph. Eight dancers portrayed pink-feathered showgirls in “Folies Bergeres” and then stopped the show again with a tambourine-accented tarantella in “Be Italian.”

Highly experienced music theatre actor Michael Cormick was an inspired choice to play Guido, bringing a charismatic presence and creating sparks of chemistry with all of his female co-stars. Cormick’s rich baritone sounded wonderful, with a clear highlight being the act one finale “The Bells of St Sebastian” when Cormick’s voiced soared above the angelic accompaniment of the full female company.

Maria Mercedes scored a triumph all over again as she returned, 29 years on, to her acclaimed role of Guido’s long suffering yet supportive and loving wife Luisa. Looking strikingly handsome and intriguingly exotic, the passing years have given Mercedes additional depth in the role, adding extra poignancy to the character’s reflections on her youth and extra soul to her mournful fear of losing her marriage. Mercedes’ rendition of 11 o’clock power ballad “Be On Your Own” was nothing short of devastating.

Silent for most of act one, the wait to hear Lucy Maunder as actress Claudia Nardi was rewarded with an absolutely exquisite performance of the gorgeous contemplation, “Unusual Way.”

Alinta Chidzey was an effervescent delight as bubbly nymphet Carla, singing the coquettish role with sweetness and projecting a strong, sexually-charged stage presence.

Looking impressively fit and toned, Chelsea Gibb made a highly memorable impact with her sole scene, tearing up the stage as the prostitute Saraghina advised nine-year-old Guido and his playmates in “Ti Voglio Bene” and “Be Italian.”

Samantha Morley brought a brusque, business-like Frenchness to Guido’s long-term manager Liliane La Fleur, successfully commanding the audience’s attention throughout extravagant production number “Folies Bergeres.”

Long associated with blowsy comic turns, Susan-Ann Walker surprised with a demure characterisation as Guido’s Mother. Projecting a matronly profile, Walker conveyed the fear of a loving mother who can foresee her son’s future proclivities emerging even when he is only nine.

Fem Belling nailed the rapid-fire lyrics of Stephanie Necrophorus in “Folies Bergeres” and “The Grand Canal.” Angela Scundi provided strong support as Our Lady of the Spa, singing with crisp diction and bringing a sense of flair to a character that is loosely defined at best.

Eliot Renton-Gibb sang with a sweet treble as Young Guido, more than holding his own against his experienced adult co-stars.

Nine the Musical in Concert was a splendid evening of beautiful music that will be remembered with affection by all in attendance.

Nine the Musical in Concert played Elisabeth Murdoch Hall, Melbourne Recital Centre on Monday 31 October 2016.

Melbourne Opera continues their lavish presentation of Donizetti’s Tudor Trilogy with the Australian professional premiere of dramatically charged bel canto opera Anna Bolena.

Donizetti’s 1830 opera features a compelling storyline peopled with intriguing historical figures. Anna Bolena covers the final three months of the life of doomed Queen Anne Boleyn, as she spirals from rosily beloved royal to mentally unbalanced prisoner.

Leading a uniformly strong cast, soprano Elena Xanthoudakis gives a tour de force performance in the title role. In an impressively calibrated performance, Xanthoudakis dazzles with her sharp dramatic focus and incredible stamina rather than with showy vocal pyrotechnics. Not that Xanthoudakis is not capable of pyrotechnics, as utilised to brilliant effect in the final moments of the opera. Following a spellbinding mad scene and gorgeous prayer, set to the strains of “Home, Sweet Home,” Xanthoudakis produces a final flourish of splendour, still sounding like she could go back the start and sing the whole opera again.

Benefitting from the extraordinarily detailed work of Richard Divall in preparing the translation and performing edition, conductor Greg Hocking leads the Melbourne Opera Orchestra in a remarkably fine performance of Donizetti’s delightfully melodic score. Expressive playing from woodwind adds intriguing colour to Anne’s mad scene, and the brass enjoy many rousing moments contributing the sense of pomp to the royal court.

Director Suzanne Chaundy maintains a strong sense of royal decorum, avoiding melodrama as the royal soap opera unfolds as a tense drama. The opera is a little slow to begin, but it soon becomes clear that Donizetti and original librettist Felice Romani need time to establish the characters and their various relationships. The drama builds throughout act one to a thrilling finale, as the King charges Anne, her one-time lover Percy, her loyal brother Lord Rochefort and her besotted musician Mark Smeaton with adulterous treason.

Linking their trilogy, Melbourne Opera has been sure to include the brief appearance of Anne’s daughter Elizabeth I (played demurely by Evie Rose Lowcock), who is the one character to appear in each of Donizetti’s Tudor operas.

The Melbourne Opera Chorus makes a significant contribution to the magnificence of this act one finale, and are in excellent voice throughout the whole evening. Chorus master Raymond Lawrence has reliably prepared the chorus to exacting standards, and they rise to the occasion superbly. As well as massed choruses, the opera includes individual male and female choruses, each of which is an absolute pleasure to hear.

In a deliberate design nod to the trilogy, staging for Anna Bolena is visually tied to 2015 thriller, Mary Stuart. Set designer Christina Logan-Bell miraculously makes the rather modest stage of the Athenaeum look vast, with a sweeping floor of tiled Tudor roses and the suggestion of cavernous space at the rear wall. The abstract, representational scenic elements are expertly constructed, richly attractive and entirely effective in their creation of the multiple scenes required for the sumptuous saga.

Excellent use is made of the spectacular costumes on loan from Opera Australia (and designed by Jennie Tate). The women of court look stunning in regal shades of green. Anne Boleyn initially stands out in ruby red, before dialing down the glamour as she faces charges of adultery. Meanwhile, following her promise of marriage from the king, lady-in-waiting Jane Seymour takes the reverse trajectory, transitioning into far more decadent gowns. In tunic, fur-trimmed robe and velveteen feathered flat cap, King Henry VIII looks like he has stepped straight out of a Renaissance oil painting.

Replacing indisposed artist Sally-Anne Russell, the key role of Jane Seymour was sung on opening night by Sally Wilson. Singing with a warm depth and unwavering tone, mezzo-soprano Wilson seemed a little underprepared in terms of facial expression in the role. The emotional heart of the story is the act two confrontation between Anne and Jane, in which Anne learns her fate is sealed as Jane is to be the next Queen. Wilson delivered her strongest work in this enthralling scene.

As Anne’s thwarted lover Richard Percy, tenor Boyd Owen was a clear audience favourite. A neatly understated dramatic actor, Owen maintains a focused presence while allowing the spotlight to remain on the key female characters. Owen’s tenor voice pours forth luxuriously, reaching high notes with seemingly little effort.

Eddie Muliaumaseali’i uses his imposing stature to great effect as Henry VIII, his powerful bass voice clearly representing the King’s dominant nature. In fine voice, as always, baritone Phillip Calcagno successfully adds another dramatic role to his repertoire as Lord Rochefort.

Her blonde beauty hidden beneath page boy wig and cap, mezzo soprano Dimity Shepherd is unrecognisable as Anne’s page Mark Smeaton. Elevating the stature of this supporting role with her highly committed performance, talented singing actress Shepherd once again shows why she is one of Melbourne’s most valued stage performers.

Lovers of sumptuous period opera will be sure to enjoy Anna Bolena.

Anna Bolena plays again at Athenaeum Theatre, Melbourne on 5 and 9 November 2016, as well playing Robert Blackwood Hall, Monash University on 12 November 2016.

Photos: Robin Halls

In its Australian premiere season, chamber musical Ned Kelly, My Love presents a new and poignant angle on the legendary story of Ned Kelly.

Writers of the hit Broadway musical Wicked have described the show’s scenario as The Wizard of Oz with the focus of the camera shifted to the left. After reading new research, writer Xavier Brouwer pans left to reveal the moving love story that played out alongside the infamous exploits of Australian bushranger Ned Kelly.

The opening night performance was introduced by researcher Paul O’Keefe, great-great grandson of Ettie Hart, sister of Kelly gang member Steve Hart. The narrative begins with Kelly’s reunion with Ettie upon his release from jail. Attracted to the man beneath the fiery temper, Ettie’s love for Ned is challenged by his escalating violence. Still, Ettie remains loyal, and is close at hand for key incidents in Kelly’s life, even bringing him sheet metal for his iconic suit of armour. Left behind by Ned at his passing, Ettie faces the rest of her life with just the secret memory of their love.

With the misdeeds and tribulations of the Kellys already dramatized on a larger scale in 2015 musical Ned, Brouwer focuses on just three characters in this concise, 75-minute musical. In keeping with the heroic legend of Ned Kelly, third character Sergeant Steele is seen as the antagonist, a Javert-like bully who is increasingly driven to capture Kelly as the reward money swells.

Brouwer captures the lexicon of mid-1800s Australia without sounding jingoistic. Likewise, his music has a gentle, natural sound that steers clear of folksy bush ballads. It can be a trap for writers to direct their own material, but Brouwer has handled both aspects with neat precision, presenting a well-paced, involving show.

In an impressive feat, lone guitarist Luke McDonald plays the new score by heart. Dressed and bearded to fit the period, McDonald’s visible presence would be well served by brighter lighting when he comes on stage for the songs.

Contributing both set and costume design, Valentina Serebrennikova makes excellent of the space and creates an authentic period feel. Ettie writes at her desk atop a wooden platform, while elements of foliage and fallen branches portray the untamed bush setting. Jessica Rowland’s projections expand the range of settings, with stained glass windows for a church and the high iron bars of a jail cell.

Lighting designer Maddie Seach bathes the action in the hot dry light of the outdoors, and enhances settings with dappled light under trees, and shadows of church windows and jail bars.

Brouwer, Serebrennikova and Seach work together effectively to create offstage action that is vital to the storytelling. Moments such as the Stringybark Creek police murders and the fire at the Glenrowan hotel are portrayed by offstage voices accompanied by lighting and sound effects.

The climactic appearance of Ned Kelly in metal armour and mask has a powerful impact. Top marks to Serebrennikova for her exacting creation of this costume.

As well as being strong actors and having very faithful period appearances, the three actors impress with their acoustic delivery of the songs. Musical preparation is sufficiently thorough for the music to be performed without a conductor. With just one guitar as accompaniment, Brouwer is blessed with the musicality of each cast member’s voice in creating a rich melodic sound.

In her characterisation of Ettie Hart, Caitlin Berwick presents a strong-willed, upright woman who is torn with the sympathy of her love and her principles over what is right and just. Being in love with a bushranger, Ettie could have been portrayed as air-headed and easily influenced; Berwick’s version is far more interesting and affecting.

Christian Gillet uses his rich bass-baritone voice and imposing physique to great effect as Ned Kelly. While the requisite love-affected scenes are slightly emasculating, Gillet nonetheless creates a stern, determined man who is prone to aggressive outbursts of temper. While Gillet’s voice slightly overpowers Berwick’s in duets, they each sound wonderful in their own way.

Emil Freund is relentlessly dark as insufferable trooper Sergeant Steele. While Steele’s pursuit of Kelly is understandable, his appalling physical treatment of Ettie is uncomfortable to watch (which is meant as a compliment to the writing and performance). The fact that Freund can still uncover the humanity beneath the actions is impressive indeed.

New Australian musicals deserve strong support from lovers of the art form. The quality of Ned Kelly, My Love adds to its appeal.

Ned Kelly, My Love plays at Brunswick Mechanics Theatre, Melbourne until 13 November 2016.

Photos: Michael Diakakis

An absolutely sensational lead performance from Amy Lehpamer is a key attraction in The Production Company’s revival of 2006 Australian musical Dusty.

A jukebox bio-musical, Dusty features more than two dozen songs and a fascinating central character. As performed by a flexible nine-piece band and a company of strong singers, the terrific music is sure to bring wonderful reminiscences to Baby Boomer audience members.

Unfortunately, the quality of the music is not matched by the leaden, overly ambitious book, written by John Michael Howson, David Mitchell and Melvyn Morrow. Taking pop diva Dusty all the way from tubby redheaded teen tomboy to international star to tragic cancer victim, the story covers so much ground that it cannot avoid clunky exposition and numerous quick jumps in narrative. In pursuit of her “sound,” Dusty’s drive pushes her through phases of her career so quickly it is hard to take each one in. Supporting characters are sketchily drawn, with Dusty’s hairdresser, dresser, lover and parents having little or no life outside Dusty’s magnetic orbit. Some songs support the storytelling, but many just stop the show (and not in the complimentary way that term is usually used). The overall result is a musical production that is passively admired rather than one that is absorbing, thrilling and affecting.

One very successful device the writers use is the inclusion of Dusty’s younger self throughout the show. Young redheaded, bespectacled Mary O’Brien grounds glamorous pop diva Dusty, reminding her of her origins and her dreams. Recent graduate Baylie Carson makes an excellent professional debut as Mary, maintaining an ungainly, self-conscious stature and singing with a pure, powerful belt that clearly portends Dusty’s success.

The engaging interaction between Dusty and Mary is just one example of the chemistry generated by the generous stage presence of Lehpamer. The supporting characters may not be fleshed out, but the importance of each one is unmistakably telegraphed by the warmth, passion and tears that emanate from Lehpamer.

In his first engagement with The Production Company, director 
Jason Langley 
keeps the action moving smoothly. While some fault lies with the book, and only so much can be achieved in a relatively short rehearsal period, Langley does not deliver any particular verve or innovation that may have pepped up proceedings. Blessed with an incredibly gifted leading lady, Langley makes optimal use of Lehpamer’s charm and flair. Langley successfully negotiates the transition to a darker tone for the show’s final minutes, avoiding melodrama with a believable dose of reality.

Musical director Michael Tyack derives multiple musical styles from a band of only nine musicians (including himself on piano). Chorus harmonies are strong and clear, with all cast members successfully delivering the range of vocal styles required by the spectrum of songs from across the decades.

Sound design by System Sound is perfectly clear but not particularly immersive, as would have befitted the performance of so many pop songs.

Choreographer
 Michael Ralph tells a story of pop history and cross-cultural progression, cleverly matching movement to each era and genre. The integration of Dusty’s new US colleagues The Supremes and her British TV dancers is a highlight, set to the toe-tapping tunes “Dancin’ in the Street” and “My Generation.” Ralph’s work is again characterised by invention and sharp precision, and is a pleasure to watch.

Yet another story to be told is one of emerging freedom through fashion. Costume designer Isaac Lummis excels himself, delivering a glittering wardrobe of witty, eye-catching outfits that propel the characters through the decades and across the social and cultural divides. Each of Dusty’s gowns is divine, and her arc from dumpy schoolgirl to emerging star to chic beauty to blowsy chanteuse is very well charted. A particularly clever touch comes when a drag queen wears an exaggerated version of one of Dusty’s signature gowns.

The ensemble cast also sports innumerable purpose-made costumes, and both ensemble and lead performers benefit from Trent Whitmore’s extraordinary collection of beautifully coiffured wigs.

Placing the band upstage, set designer Anna Cordingley creates a large, clear performance space that brings a slightly more fully realised feel than a traditional concert staging. Removing the stage legs on both sides adds to the sense of space and allows seamless movement of set elements.

Lehpamer immerses herself in the character, deftly differentiating the alluring public figure with the troubled private woman plagued by gnawing insecurities and a tendency to erupt in tantrums. Lehpamer sings the role superbly, delivering powerhouse vocals for the big hits, and also expressing the effects of aging, drinking and ongoing self-doubt on her voice. Returning to The Production Company stage a bona fide star, Lehpamer fulfills the potential shown in 2009’s Dirty Rotten Scoundrels, when her voice thrillingly filled the State Theatre as soap heiress Christine Colgate*.

Todd McKenney, as sexless, camp hairdresser Rodney, and Virginia Gay, as sexless, camp dresser Peg, add star power to the marquee, but the truly unique talents of each of these performers is squandered in underwritten supporting roles. Wigs and strong accents also impede the pair’s natural charisma.

As Dusty’s one true love Reno, Elenoa Rokobaro sings the role with raunchy power, but suffers from being given a role with no backstory or context from which the audience could form an opinion or an attachment.

Stage veterans Anne Wood and Tyler Coppin bring valuable presence and well-honed timing to Dusty’s conservative parents, Kay and Gerard O’Brien. Wood gives a welcome, all too brief glimpse of the depth of her vocal expression with Kander and Ebb classic “My Colouring Book.”

Ensemble member Nicholas Kyriacou is delightfully po-faced as Neil Tennant when Dusty receives a late career resurgence with the Pet Shops Boys’ “What Have I Done To Deserve This?”

Reservations aside, lovers of the pop/soul fusion of 1950s and 60s music will find plenty to enjoy at Dusty.

Dusty plays at Playhouse, Arts Centre Melbourne until 4 December 2016.

Photos: Jeff Busby

*Unfortunately, my 2009 review of The Production Company’s Dirty Rotten Scoundrels can no longer be linked on Theatre People, but here is the full paragraph on Ms Lehpamer’s debut:

“The most exciting discovery of the night is Lehpamer. With a sensational voice that truly filled the State Theatre, Lehpamer made a massive impact with her acting singing and dancing (she is also a brilliant violinist!) and will surely be seen in further lead roles. Kudos must also go to Hodgman for the having the wisdom to elevate Lehpamer in the cast when the role of Christine became available. What a masterstroke.”

I also went on to write: “Brilliantly talented as she was in the role, Lehpamer was let down by a hideous wig and completely unflattering costumes.” Thankfully the very opposite is the case in Dusty.