The highly anticipated return of Opera Australia’s world class Ring Cycle begins with a nuanced exploration of the psychological intensity of Das Rheingold.

Minus a couple of rows for the expanded orchestra pit, the mighty State Theatre proves a capacious home for the musicians, singers, actors, dancers, scenic elements and, of course, the throngs of enthusiastic, dedicated, knowledgeable operagoers.

Utilising every aspect of its resources, Opera Australia has clearly approached Wagner’s unassailable masterpiece with a focus on innovation, spectacle and sheer quality.

Taking for granted, for the moment, that the music and performers are first rate, the aspects that set a Ring Cycle apart are the direction and production. Contributing to the ongoing discussion of the relevance and prescience of Wagner’s epic narrative, this unique Cycle is not only original in concept but also possesses a distinctively Australian character.

Director Neil Armfield places Wagner’s mythical characters squarely in our own modern world. As the opening notes rumble and grow, an image slowly comes into focus; the stage is strewn with bikini and board short-clad Bondi bodies, which come alive to embody the water of the river Rhine. Dwarves are odious fringe dwellers, giants are puff-chested bullies, gods are the ostentatious upper class and Rhine maidens are glamorous showgirls. The power of the Tarnhelm helmet is signified as an actual magic show, gilt iPhone boxes represent gold bullion and, in a final flurry of splendour, the rainbow bridge to Valhalla is signposted by a bevy of showgirls bearing luscious clamshell feathers.

Pacing out the visual elements across the four operas, set designer Robert Cousins stages much of Das Rheingold against a pure black background. Armfield’s detailed exploration of the text comes to the fore in such scenes, blessed, as he is, with performers who can act as well as they can sing.

Referencing damage to our natural world, and hinting at the design elements in the new home being built for the Gods, taxidermied animals in glass cages are seen at the current dwelling of Wotan’s family.

Alice Babidge’s costume designs add flashes of bright colour to the black landscape. Gods Wotan and Fricka appear to be straight from a 1980s night-time soap opera, Freia’s mini-dress is as golden as the bullion she is traded for, frolicking Rhine maidens sport stunning pale turquoise outfits and men’s suits befit their position in the line of power.

Maestro Pietari Inkinen presides over a massive orchestra of players sourced not only from Orchestra Victoria and the Australian Opera and Ballet Orchestra, but also from ten other national and international orchestras. The effect of the glorious music emanating from the voluminous put from so many players is difficult to describe. Most striking is the sense that various strains of music are originating from distinct sections of the pit; this effect is usual enough in opera orchestras, but is significantly magnified on this scale. With a profound knowledge of the music, and gentle air of assured of confidence, Inkinen capably caters to musicians and singers alike.

A hallmark of the Melbourne Ring Cycle is the dominant number of Australian artists in the principal roles. Only two of the 14 lead characters in Das Rheingold are sung by international artists.

American bass baritone James Johnson maintains a statuesque presence while bringing out a sense of weariness and impending defeat in Wotan. In a nice piece of direction of Armfield has Wotan put down his spear before insisting Alberich give him the ring, leaving him vulnerable to Alberich’s curse. Johnson vocal characterisation of the role is less commanding than often heard, symbolising the character’s power instead by the mellifluous beauty of his voice.

German tenor Andreas Conrad gives a thrilling performance as Loge, god of fire. Conrad sings with ringing power, and projects a dynamic, highly engaging energy on stage.

Following an acclaimed breakout performance in the 2013 season, Australian baritone Warwick Fyfe returns to the role of Alberich. In the intervening three years, Fyfe has lost weight but still portrays the low self-confidence of opportunistic devil Alberich and his voice is as rich and powerful as ever. A clear crowd favourite on opening night, Fyfe cements his position as one of our foremost singing actors.

The scorching combination of Johnson, Conrad and Fyfe is at the heart of the success of this staging of Das Rheingold.

Such is the presence, charisma and vocal quality of Lorina Gore (Woglinde), Jane Ede (Wellgunde) and Dominica Matthews (Flosshilde), each of the singers playing the three gorgeous Rhine maidens can be distinctly made out.

Giving a hint of further glory to come as the cycle unfolds, Jacqueline Dark conveys the regal, yet understandably insecure, presence of Fricka, wife of Wotan. Graeme Macfarlane all too briefly displays the grasping, self-serving nature of Mime, enslaved brother of Alberich.

Bass baritone Daniel Sumegi (Fasolt) and bass Jud Arthur (Fafner), bring the perfect sense of fun to the self-made subtle gangster stylings of the pair of giants. Seen here as giants of property development, the pair enter on cherry pickers, their disdain for the environment seen in their cavalier destruction of the beautiful mountainside backdrop. Both Sumegi and Arthur sing with focused intensity and unwavering tone, conveying the commandeering greed of the pair as an inevitably tragic fatal flaw.

Stunning soprano Hyeseoung Kwon is seen but, unfortunately, largely unheard as Freia, abducted sister of Fricka. Late in the opera, highly experienced mezzo soprano Liane Keegan makes an affecting impact as primeval earth goddess, Erda. Vulnerably attired in a filmy, nude-coloured dress, Keegan moves slowly and deliberately to convey the stature and wisdom of Erda, delivering rich expression in her voice as she convinces Wotan of the danger of the ring.

Strong support comes from Michael Honeyman (Donner) and James Egglestone (Froh). Honeyman sings out in the most heroic of tones when Donner calls forth the bridge to Valhalla.

Cycle One of The Melbourne Ring Cycle continues over the coming week at State Theatre, Arts Centre Melbourne. Cycle Two commences 30 November 2016, and Cycle Three commences 9 December 2016.

There are various Ring Events occurring around Melbourne during The Ring Cycle.

Arts Centre Melbourne has a series of interval dining options inspired by the world of The Ring Cycle.

See a dozen photos from the 2013 Melbourne Ring Cycle: Das Rheingold.

Read Man in Chair’s 2016 review of Die Walküre.

Read Man in Chair’s 2012 review of the Metropolitan Opera Ring Cycle.

Photos: Jeff Busby

Fifteen singers deliver four hours of glorious singing and splendid acting as Opera Australia’s presentation of The Melbourne Ring Cycle continues with Die Walküre.

As a snow storm rages, a small wooden cabin slowly rotates. A light appears at the window, and then the cabin is open to show the humble home Sieglinde shares with her husband, the warrior Hunding.

The arrival of a stranger, Siegmund, son of Wotan, signals the beginning of an hour of truly rapturous singing. Australian tenor Bradley Daley (Siegmund) and American soprano Amber Wagner (Sieglinde) are superb together, well matched not just in vocal quality but also physique; with wigs and costumes, the fact that the characters are twins is abundantly clear.

A sturdy woman in sensible clothing, it is Sieglinde’s kindness that draws the initial affection of exhausted traveller Siegmund. A burning passion for his sister-bride soon takes hold, and the act closes with the pair set to conceive the Ring Cycle’s ultimate hero.

Blessed with a voluptuous, full bodied soprano, Amber Wagner’s singing magnifies and enhances the beauty of Richard Wagner’s music. From first sight of Siegmund, Wagner conveys Sieglinde’s fervent desire for him with every element of her vocal, facial and physical expression. Underlying this passion, the conflict of loving her own brother seems set to tear Sieglinde apart.

Daley brings the requisite steely heldentenor power to sing Siegmund, his voice soaring over the mighty orchestra with apparent ease. Daley conveys the awakening of both love and power in the young man, giving the character a gentle air of nobility and steadfast grace.

In a brief but memorable appearance when Hunding interrupts the new lovers, Jud Arthur’s commanding bass provides a striking dramatic counterpoint for the sweetness of Daley and Wagner.

James Johnson begins act two in higher energy, reflecting the invigorating joy and pride Wotan derives from his cherished daughter Brünnhilde. Occasionally just slightly overpowered by the orchestra, Johnson delivers a pure, even tone in his tenor vocals. As Wotan progresses from loving father, to manipulated husband, to domineering ruler, to broken-hearted patriarch, Johnson gives an affecting and memorable performance.

In one extraordinary scene in act two, Wotan is the Blake Carrington to Fricka’s Alexis Colby. Wearing a fox fur that is clinging to her very bosom, Jacqueline Dark gives a tour de force performance that is as impactful as it is meticulously calibrated. From haughtily imperial wife to willing victim to aggressive opponent, Dark unfurls Fricka’s full bag of tricks as she completely twists her husband to her will. When Wotan finally submits, she quickly plants a kiss on his lips before he can speak any words to the contrary, and glides off in arrogant triumph.

The action at Valhalla is deftly enhanced by Robert Cousin’s incredible design, which is effectively a giant ivory corkscrew. A hallmark of director Neil Armfield’s work on the Ring is his carefully considered use of orchestral interludes. The three-level allows entrances, exits and transitions to have maximum visual impact.

In a truly thrilling performance, American soprano Lise Lindstrom electrifies the stage as Wotan’s cherished daughter Brünnhilde. Even in masculine khakis, Lindstrom’s natural beauty shines through. Tall and trim, her blonde hair pinned back in a casual ponytail, has the ideal look to present Brünnhilde as the definitive alpha female. Even amongst the highly talented performers playing her nine warrior sisters, Lindstrom’s magnetic charisma draws all attention to her presence.

Possessing a clarion soprano with a gleaming metallic lustre, Lindstrom tirelessly fills the massive State Theatre with exciting sound. Even after technical staging difficulties blew out the running time of this performance to over seven hours (including extended intervals), the audience were immensely satisfied after the moving final scene between Wotan and Brünnhilde, with many heard to mention that in Lindstrom we at last have a heroine that a hero would really want to step through a ring of fire to rescue.

Apart from their wonderful singing and stirring acting, the nine women playing the Valkyries deserve bravery medals for their incredible entrances. Flying in from the heavens on swings as they sing the famous war cry, the woman promptly unhook their harnesses and leap into action on the stage. The natural hair and costuming mean that each of these invaluable women can be very clearly identified. The Valkyries are played by Anna-Louise Cole (Gerhilde), Dominica Matthews (Schwertleite), Olivia Cranwell (Ortlinde), Siam Pendry (Waltraute), Hyeseoung Kwon (Helmwige), Amanda Atlas (Siegrune), Nicole Youl (Grimgerde) and Roxane Hislop (Rossweisse).

The combination of Armfield’s richly detailed yet neatly uncomplicated direction and the acting skills of the cast mean that each of the emotional manipulations and life-changing decisions of Die Walküre come off with maximal clarity and impact.

As the Cycle progresses, the supreme capability of maestro Pietari Inkinen becomes ever clearer. Adroitly managing subtle underscoring and dramatic climaxes alike, Inkinen maintains manageably brisk tempi and supportive accompaniment. Inkinen’s expertly judged conducting shows the incredible musicians at their best without ever drawing undue attention.

Cycle One of The Melbourne Ring Cycle continues over the coming week at State Theatre, Arts Centre Melbourne. Cycle Two commences 30 November 2016, and Cycle Three commences 9 December 2016.

There are various Ring Events occurring around Melbourne during The Ring Cycle.

Arts Centre Melbourne has a series of interval dining options inspired by the world of The Ring Cycle.

See 10 photos from the 2013 Melbourne Ring Cycle: Die Walküre.

Read Man in Chair’s 2016 review of Das Rheingold.

Read Man in Chair’s 2012 review of the Metropolitan Opera Ring Cycle.

Photos: Jeff Busby

The heroism of Siegfried plays out in a highly theatrical setting as Opera Australia’s addictively compelling Melbourne Ring Cycle continues.

With over four hours of music shared between just eight singers, the stamina of the cast is a wonder to behold. Wagner begins with the men, before gradually introducing female voices, and saving the best for last with a glorious extended love duet.

Returning to the theme of show business seen in Das Rheingold, director Neil Armfield stages each of the various locations of Siegfried in a gleaming white proscenium arch. Set designer Robert Cousins has conceived and crafted the multipurpose space so that it smoothly transitions from scene to scene.

The poisonous dwarf Mime has raised Siegfried, son of Siegmund and Sieglinde, in a makeshift space with microwave, bar fridge and bunk beds. A stout, tousled haired youth, Siegfried’s dreams of fighting dragons and bears are seen in the crayon drawings on his wall. Having re-forged the sword Nothung, Siegfried aggressively cuts through the rear wall.

In act two, this hole has been smoothed to a large circle, which eerily forms the mouth when Fafner’s face is projected onto the white wall as he applies garish makeup and practices his most terrifying faces. The set revolves, and the hole becomes the entrance to the cave where Fafner, now guarding the Nibelung gold as a dragon, resides.

Finally, a glittering gold ruched curtain fills the false proscenium, representing the wall of flames around Brünnhilde. Like the other species he has preserved and put on display at Valhalla, Wotan has left Brünnhilde the company of her horse Grane in taxidermied form.

With basically a single set for the entire evening, the work of lighting designer Damien Cooper comes to the fore in terms of sustaining visual interest. Creating as much, if not more, intrigue with shadow than with light, Cooper provides hiding places for the fringe dwellers and basks the heroes in glowing warmth.

At the beginning of each act, the audience’s appreciation for maestro Pietari Inkinen and the Melbourne Ring Orchestra is growing in frenzied volume to rock star status. Clearly having a profound knowledge of the score, and a deep love for it, Inkinen’s passionate yet calmly measured focus is the foundation on which this entire Ring Cycle is built. Highlights in Siegfried include lovely playing from woodwind representing the Woodbird, humorous trumpet blats as Siegfried attempts to call the Woodbird on his horn, and the superb sequence when Siegfried’s noble leitmotif does musical battle with the ominous rumbling leitmotif of the dragon.

Perfect casting continues Armfield’s vision of these mythical characters in human form. Next to the lofty height of Wotan and Siegfried, “dwarves” Mime and Alberich are seen as small men.

Often providing invaluable support in minor featured roles, Graeme Macfarlane rises more than capably to the task of playing the significant role of Mime. Singing the role comfortably and precisely, Macfarlane’s acting is superb as he creates sympathy and understanding for a man prepared to kill the son he has raised just to acquire material wealth.

Mighty baritone Warwick Fyfe returns to the Ring spotlight, as Alberich’s all-consuming avarice continues apace. Fyfe’s voice rings out with unwavering intensity and delicious richness of tone. Such is the level of Fyfe’s talent, he practically creates an ethical dilemma for the audience in that they are so greatly enjoying such a loathsome, self-serving character.

Liane Keegan returns as ominous Erda, again dressed vulnerably in sheer nude-coloured fabric. The quality of Keegan’s work is the sheer musicality of her voice, which floats effortlessly over the orchestra. Keegan uses her finely honed vocal expression to create an entire performance with very little facial or physical movement. The portrayal of Erda as an ethereal spirit at this point is a departure from the 2013 season, in which the character of Erda was seen an elderly woman in a wheelchair pushed by the performer who was actually singing the role.

Soprano Julie Lea Goodwin is delightfully winsome as the Woodbird, singing with tender sweetness and delivering a frolicsome physical performance that is a pleasure to watch.

His face projected to movie screen size, Jud Arthur’s intense facial expression creates one of the strongest musical interludes of this Cycle. The camera positioned so that his projected eyes peer directly at the audience, Arthur’s unflinching stare creates a deliberately uncomfortable vibe. In one of Armfield’s most audacious moves, after Siegfried has stabbed the dragon Arthur staggers onstage naked and bloodied. While it cannot be denied that Arthur is in great shape, this is still a bold move and Arthur performs with unflinching fortitude to make the interpretation as natural as possible.

As his epic performance across the Cycle continues, James Johnson is in excellent form as Wotan, known in Siegfried as the Wanderer. Johnson’s supreme talent for legato phrasing is a feature of his singing in this installment. Obviously seeing the Cycle as a marathon and not a sprint, Johnson is showing an exacting level of control on his singing and acting performance. The result is fully realised characterisation that earns the audience’s admiration and affection in gentle degrees.

German heldentenor Stefan Vinke takes on the mammoth role of Siegfried with unflustered composure and superbly measured endurance. Successfully embodying the wide-eyed, playful aspects of the initially innocent young man, Vinke adds layers as Siegfried goes on to kill and then to love. Vinke sings with requisite strength, and particularly impresses in quieter moments, such as Siegfried’s sensitive contemplations on his mother. Vinke plays the hero without overplaying the heroics, creating a grounded realism to what can be a larger than life figure.

With the sneaky benefit of joining the opera in its last leg at full freshness, Lise Lindstrom is in blisteringly good form as Brünnhilde awakens from her enforced slumber. Form her first soaring notes, the sumptuous colour in Lindstrom’s extraordinary soprano thrill and invigorate the audience. Having preserved plenty of power for the finale, Vinke also seems refreshed opposite Lindstrom, and the pair makes deliriously beautiful music together.

The stage is set for a thrilling climax to the Melbourne Ring Cycle with Monday’s performance of Götterdämmerung.

Cycle One of The Melbourne Ring Cycle continues over the coming week at State Theatre, Arts Centre Melbourne. Cycle Two commences 30 November 2016, and Cycle Three commences 9 December 2016.

There are various Ring Events occurring around Melbourne during The Ring Cycle.

Arts Centre Melbourne has a series of interval dining options inspired by the world of The Ring Cycle.

See 11 photos from the 2013 Melbourne Ring Cycle: Siegfried.

Read Man in Chair’s 2016 review of Das Rheingold.

Read Man in Chair’s 2016 review of Die Walküre.

Read Man in Chair’s 2012 review of the Metropolitan Opera Ring Cycle.

Photos: Jeff Busby

Blessed with a terrific pair of leads, The Last Five Years makes a welcome return in this affecting involving and insightful production.

An eighty-minute two-hander, The Last Five Years is relatively simple to stage, it success relying on casting and direction. It would be difficult to surpass the talent, charisma and appeal of stars Verity Hunt-Ballard and Josh Piterman in this new production from Vic Theatre Company.

An innovative, and highly revered, musical from Jason Robert Brown, the simple scenario is enhanced with a surprisingly effective twist. Tracking the joy and heartbreak of a five-year relationship, Jamie’s story begins with the excitement of new love and moves forward, while Cathy’s journey moves backward from the end of the couple’s marriage.

A brilliantly matched pair, Hunt-Ballard and Piterman deliver pristine vocals and nuanced, natural acting performances that succeed in presenting the flaws and strengths of both characters in equal measure. There are no heroes or villains, just two people whose love burns brightly and is extinguished just as quickly.

In a masterstroke of realism, director Chris Parker eschews the usual music theatre convention of cheating front, instead having the actors interact naturally. Curved around the front of the stage, the audience has the sense of being a fly on the wall, eager to enjoy the high points of Cathy and Jamie’s relationship whilst also unable to avoid the disappointment of its dissolution.

On an economical, neatly effective set from Daniel Harvey, Parker hides various props that magically appear as the characters require them. The wooden floorboards of fortyfivedownstairs suit the apartment setting, and the absence of a proscenium arch matches the casual, natural vibe. Lighting designer Tom Willis adds visual interest, and draws the eye as each vignette dissolves into the next.

Parker has clearly mined the libretto for full meaning and significance with his two actors, resulting a fresh take on the well-known text. While each song is assigned to one of the characters, Parker makes supportive use of the other player while still keeping the focus on the singer. The show is subtly updated through the use of Skype and FaceTime. In a particularly clever touch, the central wedding song “The Next Ten Minutes” focuses more on the proposal, and sees the couple simply make their vows to each other on a picnic rug.

Musical director Daniel Puckey creates a nicely textured accompaniment with strings, guitar and keyboard. While it is a classy touch that the musicians come on stage to take a bow, it is a regrettable oversight that their names are omitted from the program.

From the moment Cathy finds the note and key from Jamie, Hunt-Ballard conveys the fragility and vulnerability that instantly endears Cathy to the audience. With her self-effacing approach to her acting career, Cathy provides much of the gentle humour of the show, and Hunt-Ballard nails this expertly. As Cathy spends “A Summer in Ohio,” Hunt-Ballard’s delivery of a trunk full of clichéd dance steps (provided by guest choreographer Michael Ralph) is deliciously funny, as is her delivery of Cathy’s inner monologue of insecurities in “The Audition Sequence.”

Piterman tones down his glossy appearance to play unshaven, fluffy-haired writer Jamie. Piterman begins Jamie’s romantic trajectory with such effusive joy that it is impossible to dislike the character’s later somewhat caddish, self-focused behaviour. Piterman delivers colourful character voices as he tells a story in “The Schmuel Song,” and brings a striking beauty to Jamie’s reading of an excerpt from his novel. Over and above his excellent acting skills, Piterman’s singing voice is in peak form, and he soars through the score with a quality that can only be described as being of Broadway standard.

Much as many of their songs are performed individually, Hunt-Ballard and Piterman enjoy warm, playful chemistry. The heart rending final image of radiant hope on Cathy’s face as Jamie ruefully leaves the note and keys is perfectly judged and beautifully delivered.

Fans of The Last Five Years will find as much to enjoy as newcomers to the material. Either way, this is a charming production that no Melbourne music theatre fan should miss.

The Last Five Years plays at 45 Downstairs, Melbourne until 11 December 2016.

Photos: James Terry

Energetic direction and zany performances are highlights of slick boutique production Reefer Madness.

Based on a 1936 film that was intended as a very serious public warning, Kevin Murphy and Dan Studney’s 2001 off-Broadway musical Reefer Madness ramps up the marijuana mania to hyperactive levels. As a satire, the joke is stretched thinly over a two act musical, but this is countered by the pep and zip of the cast.

Innocent youths Jimmy Harper and Mary Lane are enjoying an idyllic senior year, hoping they can have as happy an ending as the lovers in the play they are yet to finish reading. Enticed by the local reefer den, Jimmy and Mary’s lives spiral out of control until, like Romeo and Juliet, they meet tragically untimely ends.

Ben Adams takes Jimmy from wholesome, clean cut boy to possessed puffer with unflagging performance energy. Grace O’Donnell-Clancey is a living kewpie doll as Mary, gamely stripping down to her drawers to perform risqué number “Little Mary Sunshine.” Accomplished singers and actors, the pair are appealing leads.

Director Stephen Wheat has developed a zany set of characters from his cast of 15. Energy is uniformly high, and much humour derives from the quirky playing styles. The comedy is, however, just slightly undermined by the sense that the entire cast know they are in a comedy. Some sort of semblance of reality from a couple of characters may have helped to ground the humour.

Choreographer Yvette Lee continues the larger than life theme with her nifty, tightly drilled choreography, which appears to be as much fun to perform as it is to watch.

From a band of only three players, including himself on keyboard, music director David Wisken creates a surprisingly full sound. While the melodies are not particularly memorable, the cast vocals and harmonies are reliably well prepared.

Set designer Simon Coleman has provided an attractive playing space. The show is set on a high school stage, with other locations intended to look like as though they were created for a high school production. The hand drawn props are a fun touch, with highlights including the ominous placards revealing the dangers of drugs, and also the speedboat, biplane and rickshaw Mary uses in the chase scene.

Given the single set, ongoing visual interest is created by lighting designer Jason Bovaird, who not only matches the buzzy vibe with countless moving lights cues but also adds witty touches like bathing the space in Jamaican red, yellow and green.

Zoe Rouse’s colourful costumes are a standout feature of the production. The sheer number of costumes is impressive, and they capture the heightened comic book style perfectly.

James Cutler begins like the Stage Manager in Our Town, and goes on to suggest very odd undercurrents in the ostensibly serious fellow. A charismatic performer, Cutler is entertaining to watch as The Lecturer pops up in a number of supporting roles along the way.

Sporting dark stubble and an intense expression, Jared Bryan brings a strongly masculine presence to remorseless villain Jack Stone. Choice actress Rosa McCarty is quite hilarious as vapidly kittenish Mae, a hopelessly hooked dope addict who will do anything for more of “The Stuff.” Thankfully, the role provides the chance for McCarty to let rip with her powerful vocal belt.

Phoebe Coupe also provides strong vocals as salacious smoker Sally. Stephen McDowell completes the menagerie of den dwellers as kooky college dropout Ralph, insanity fairly streaming from his eyes as ravages Mary in “Little Mary Sunshine.”

Reefer Madness plays at Chapel off Chapel until 4 December 2016.

Photos: Nicole Riseley

In an electric performance of Götterdämmerung, the mighty Melbourne Ring Cycle concludes as it began, with glorious singing, meticulous direction and innovative staging.

His concept and characters now so clearly established, it now remains for Director Neil Armfield to do little more than stand back and let the drama unfold. And yet he still has more spellbinding magic in store.

Continuing the combined themes of the theatrical and the everyday, Götterdämmerung begins with three Norns, seen here as seamstresses who are repairing the pastoral painted canvas backdrop that the giants tore in Das Rheingold. Tania Ferris, Jacqueline Dark and Anna-Louise Cole begin the evening’s musical splendour with gentle, sweet singing as the Norns gossip away their workday. Projecting a golden warmth, Dark is unrecognisable from her earlier work as firebrand Fricka. Emerging soprano Cole portends a promising future, delivering luscious golden tones.

Set designer Robert Cousins again conceives of a scenic instalment that can be in place for the whole opera, flexibly portraying a range of locations. A large steel construct forms the frame of a building, first representing the cliff top outdoor bedroom Siegfried shares with Brünnhilde, then the interior of the Hall of the Gibichungs. For act two’s double wedding reception, a white canvas with arched plastic windows turns the structure into a capacious backyard marquee. Finally, the space is a hunter’s shooting range, before ultimately, and spectacularly, catching alight as Siegfried’s funeral pyre spreads flickering flames to the Hall of the Gibichungs.

Costume designer Alice Babidge has fun with splashes of vivid colour for the Gibichungs, portrayed here as a rather gauche nouveau riche collection of military men and trophy wives. Oversized artworks share the living space with exercise machines and a bar. Siblings Gunther and Gutrune begin in matching white gym outfits before Gutrune changes into a garish neon orange frock and matching heels. She is clearly the sort of woman who would marry in a mermaid wedding dress with four breathless bridesmaids in candy pink minis.

Well into the Cycle, Wagner raises the vocal energy with a chorus. The male chorus, featuring any number of recognisable local singers, gathers in black tie and military uniforms in support of Hagen, lord of the Gibichungs. The women sport pale pastel summer dresses, tastefully matching the reception table settings and marquee decor. Prepared by chorus master Anthony Hunt, chorus singing is magnificent.

Having worked with grand flair throughout the Cycle, lighting designer Damien Cooper delivers further grandeur in Götterdämmerung. Always an integral part of Armfield’s superb transition/interlude scenes, Cooper’s standouts this time include act one’s slow transition back to Brunnhilde’s rock, in which Hagen vanishes up stage, and the slow revolve after the reception showdown, in which a light remains on Hagen while all the chorus members silently disappear.

Armfield provides a couple of welcome moments of levity. The “wine” shared by the men at the hunting range is represented by slabs of UDL cans transported in an abandoned supermarket shopping trolley. At the top of third act, at the end of a long evening and a long Cycle, the three Rhinemaidens are seen in wig caps and runny makeup, with holes in their stockings, their exhaustion perhaps mirroring the spirits of many who have made it this far (much as all present on stage and off have adored every minute.)

Lorina Gore (Woglinde), Jane Ede (Wellgunde) and Dominica Matthews (Flosshilde) return as the Rhinemaidens, projecting plenty of personality and singing sweetly soaring solo lines as well as nimble harmonies.

Appreciation and acclaim for maestro Pietari Inkinen has increased throughout the season as he has proved himself inordinately capable of calmly delivering every possible aspect of Wagner’s epic score. As mentioned in the Das Rheingold review, the extraordinary effect of music rising, geyser-like, from various corners of the pit can really only be fully experienced live. The full orchestra makes a welcome appearance on stage for the curtain calls to celebrate their aceievemenst across the Cycle.

Local singers again excel themselves in Götterdämmerung.

Warwick Fyfe, as Alberich, has a wonderful cameo in which he visits his sleeping son Hagen as if in a dream, whispering insidious notions into the sleep of his vainglorious son. With an unflinching baritone, Fyfe has again proved a hero of this Cycle, and his exacting work has been a joy to experience.

Sian Pendry, one of the strongest and most invaluable actresses in the Opera Australia firmament, appears as Waltraute, who visits her sister Brünnhilde for a melancholic reflection on the price of Wotan’s grief. Pendry grounds the scene emotionally, conveys multiple layers of feeling in her highly expressive mezzo-soprano voice.

Strapping men Daniel Sumegi and Luke Gabbedy fill out Officer’s uniforms with confidence. Sumegi uses the constant subtle rumble of his bass voice to add tangible menace to Hagen’s every interaction. Gabbedy’s characterisation of Gunther shows the insecurity behind a strong man who has an abundance of material possessions but not love.

Highly experienced soprano Taryn Fiebig moves up to the role of Gutrune, bringing believable wide-eyed naivety to spoiled woman who quickly becomes a spurned bride. Although not a Wagnerian soprano, Fiebig’s golden vocals are lovely, and float fluidly above the orchestra.

A Ring Cycle is an international event, and the evening ultimately belongs to visiting artists Lise Lindstrom and Stefan Vinke.

An untiring singer of incredible fortitude, Vinke continues his lively portrayal of Siegfried, singing with seemingly effortless precision and steely beauty. Two acting moments standout as exemplars of Vinke’s talent: Siegfried’s Tarnhelm-assisted portrayal of Gunther, and Siegfried’s change of personality under the effect of Hagen’s memory potion. Vinke’s world class performance has been an unforgettable aspect of the 2016 Melbourne Ring Cycle.

Likewise, Lindstrom has had an incredible impact in the revered role of Brünnhilde. Enhancing the power of her soprano with gorgeous blooms of colour, Lindstrom would be sensational based on vocal performance alone. In combination with the intensity and focus of her acting, the result is nothing short of extraordinary. Amongst many sterling moments, Lindstrom’s final slow walk as the defeated warrior prepares to join her great love on his funeral pyre is extremely moving. Lindstrom’s appearance has been a great blessing for Melbourne opera lovers, the icing on an already delicious cake.

The Melbourne Ring Cycle was initially slated to play three times, with a three year gap between each appearance. See you at the State Theatre in 2019.

Cycle One of The Melbourne Ring Cycle at State Theatre, Arts Centre Melbourne has concluded. Cycle Two commences 30 November 2016, and Cycle Three commences 9 December 2016.

There are various Ring Events occurring around Melbourne during The Ring Cycle.

Arts Centre Melbourne has a series of interval dining options inspired by the world of The Ring Cycle.

See 11 photos from the 2013 Melbourne Ring Cycle: Siegfried.

Read Man in Chair’s 2016 review of Das Rheingold.

Read Man in Chair’s 2016 review of Die Walküre.

Read Man in Chair’s 2016 review of Siegfried.

Read Man in Chair’s 2012 review of the Metropolitan Opera Ring Cycle.

Photos: Jeff Busby

A tremendously talented young cast and well-realised direction allow original Australian musical The Gathering to be seen in its best possible light.

While the youth of the cast is initially deceptive, a glance at the program reveals each of the six performers to be recent Performing Arts graduates. The six are all solid actors, but it is their singing voices that are really exceptional. As Gen Y actors in a show by Gen Y writers, the cast members suit the open minded, confident characters, and the new show has a welcoming accessibility to it.

Streamlined to a compact 75-minute running time, The Gathering is consistently entertaining and engaging. An undercurrent of tension is introduced almost immediately, and the intertwined themes of relationships, identity and regret, plus a hint of the supernatural, provide plenty of dramatic material for the six well drawn characters.

Having returned as mysteriously as he disappeared five years earlier, Tom has gathered his school friends in an attempt to pick up where he left them. Tom’s past is the central mystery, but each character brings baggage that they are attempting to lessen while navigating the choppy waters of young adulthood.

Belinda Jenkins and Will Hannagan have worked together to craft the book, music and lyrics for The Gathering. Keeping the pace snappy by judiciously keeping book scenes brief, their songs are a real attraction. With a particular flair for power ballads, the pair also proves adept at writing ensemble numbers that drive the action. Their strength with lyrics lies with having a second, or third, character sing the same verse with only slight tweaks to provide a fresh meaning. Jenkins and Hannagan have a musical voice that is well worth cultivating, and future endeavours are now highly anticipated.

The success of The Gathering owes much to the confident work of director Chris Parker. Sparks continually fly between the characters, and storytelling is crisply energetic. Effective use of the flexible playing space allows various locations to be created with ease.

Designer Daniel Harvey conveys the creaky age of the house with a collage of mismatched carpet underfoot. The stained rear wall of the fortyfivedownstairs is the perfect backdrop. Characters are dressed comfortably and realistically, each clearly showing aspects of their personality in their carefully chosen attire.

Tom Willis’ lighting design adds spooky atmosphere, playing up the haunted house possibility.

Musical direction by Daniel Puckey is excellent, giving the new musical an assured, natural sound. A band of five, including Puckey on piano, plays the music with flair. Given that the singers cannot see conductor Puckey, vocal preparation has obviously been thorough, as cues are picked up with relaxed ease.

Joel Granger is an inspired choice to play Tom, his handsome face able to flick from rosy cheer to deep pools of pain in a heartbeat. Granger brings a largely inscrutable front to Tom’s secrecy, deftly playing down the melodrama of the situation to ground the drama in realism.

Shannen Alyce Quan plays Tom’s sister Kelly with a unrelentingly fierce edge. Quan has a superb singing voice, belting with unflagging power. It is a credit to Quan’s performance that she reveals the pain behind Kelly’s aggressive front, bringing additional dimensions where a lesser actress may have been one note.

Hannah Sullivan McInerny also delivers powerhouse vocals, singing with a pure and unwavering belt. As new age-infused Daisy, McInerny provides some welcome humour, expertly delivered as being quite serious to the character. Daisy has a history with Joe, a prickly situation that McInerny often conveys nonverbally.

Daniel Cosgrove, as Joe, portrays the tension between adult responsibilities and youthful abandon. Cosgrove projects a masculine presence, undercut with a vulnerability related to his crumbling relationship with Daisy.

Olivia Charalambous maintains a perky, playful presence, portraying a young woman who masks her insecurities behind a pretty in pink façade. Blessed with beautifully expressive eyes, Charalambous nails the furtive longing looks Mia throws at Tom, bringing the character’s feelings to the surface in poignant duet “If Ever I Would Run.”

Providing a surge of energy with his late arrival, proven young performer Daniel Assetta gives another terrific vocal performance as Luke. It is refreshing to see a character who is gay without this having any significance to the story. Even more refreshing is Assetta’s unflinching portrayal, which offsets moments of arch behaviour with a natural masculine confidence.

Musical theatre supporters, and younger musical fans in particular, are encouraged to seize this opportunity to see a strong production of a new Australian work.

The Gathering plays at fortyfivedownstairs, Melbourne until 11 December 2016.

Photos: James Terry

A perfect showcase for the talents of the students of The Australian Ballet School, beautifully produced ballet The Snow Queen is wonderful holiday entertainment.

An adaptation of Hans Christian Anderson’s classic fairytale, The Snow Queen is an ideal choice for a school production, in that the youth of the dancers matches the youth of the characters. The marketing team has cleverly tied the font of the poster to that of megahit movie Frozen, which was based on the same tale. The Snow Queen and Gerda may not be sisters, as Elsa and Anna are in the film, but familiarity with the popular movie makes the ballet very easy to follow.

Not that any help is actually needed in following the sweetly fantastical story, which is crystal clear in terms of concept and performance. Choreographer Petal Miller-Ashmole keeps the story beats moving briskly while providing maximal opportunities for festive dancing. The distinctive lead roles are clearly defined, with plenty of featured groups having their time in the spotlight as well. With melodious classical music by Massenet, The Snow Queen has all the trademark qualities of a full-length story ballet, with the very manageable 105-minute running time (including interval) making it even more suitable for young audience members.

A brief prologue sees the mischievous imps shatter the Snow Queen’s magic mirror, sending tiny dangerous fragments flying out into the world. The opening scene soon sees the stage filled with dancers, as Gerda, Kai and friends dance with lively merriment. Although the use of recorded music creates a slight lack of atmosphere, the infectious energy of the dancers compensates in producing a vibrant performance.

Designed by Hugh Colman, the sets and costumes for this 1993 production have been very well maintained. The Scandinavian villagers are dressed in warm tones of dark and light blue, with featured Friends in rust-coloured vests. Featured use of geometric patterns in trims enhances the visual picture when the full company dances together.

Radiant young dancer Yuumi Yamada is an absolute delight to watch as Gerda. Yamada conveys the determination of the plucky heroine, while her petite frame gives the character added vulnerability while on her quest. Yamada’s Gerda has the aspirational ballet princess qualities that young viewers will love. She dances with delicacy and seemingly effortless beauty, portending a solid future in such roles.

Xavier Pellin has a fresh, natural presence as Kai, his face lit with a ready smile. Pellin is a strong, well-matched partner for Yamada, and the pair creates the innocent romance with tender flair. Pellin raises the dramatic stakes with sharp acting when Kai’s eye and heart are struck with splinters of magic mirror glass.

Making a grand entrance in her mighty billowing cloak, Elise Foster commands the stage as the Snow Queen. A highly accomplished dancer, Foster’s height adds an extra layer of majesty to her presence. In Foster’s interpretation of the Queen, the malevolence is suppressed behind a deceptively sweet smile. Foster shows disciplined control in her moments of slow and deliberate movement.

As Gerda searches for Kai, she encounters the Gypsy Robber Girl and her tribe of Gypsy friends. Colman contrasts the neat precision of the villagers’ costumes with ragged costumes of vibrant orange, pink, purple and black for the gypsies. After the festive village merriment, Miller-Ashmole uses a different vocabulary of dance for the gypsies. Tene Ward is magnetically compelling as the feisty Robber Girl. A highlight of her energetic choreography sees the game dancer thrown from boy to boy.

His face covered in make up, Daniel Idaszak uses his entire body to bring a fully realised physicalisation to the noble Reindeer. Idaszak represents the Reindeer’s sturdy gait with a sweeping backwards steps. While the majority of pas de deux in storybook ballets involve lovers, Gerda and Reindeer bond as friends during a playful pas de deux, which climaxes with a stunning final lift.

Act two opens in the Snow Queen’s frosty lair, where Kai sleeps high overhead on a hanging crystal. Sporting shades of icy blue, with crisp snowflake tutus, dancers form symmetric patterns about their monarch.

Guest artist Christine Howard is charming as Gerda’s dear Grandmother. A character teacher at The Australian Ballet School for over 30 years, Howard’s performance gives her the chance to demonstrate her pristine mime skills.

Each member of the large cast makes their own contribution to the joyful success of The Snow Queen. The dancers clearly take great pride in the quality of their work, and their sheer enjoyment shines through as well.

Melbourne is blessed with a number of holiday ballets suited for children this year. A change from traditional Christmas favourite The Nutcracker, The Snow Queen is highly recommended entertainment.

The Snow Queen plays two further performances at Playhouse, Arts Centre Melbourne on 10 December 2017.

Photos: Sergey Kostantinov

The Australian Ballet’s Storytime Ballet series continues with a perfectly judged children’s version of seasonal favourite The Nutcracker.

The new production is staged by Artistic Director David McAllister, whose evident love for The Nutcracker is matched by his innate knowledge of the piece. In editing the ballet to a brisk 50 minutes, McAllister has successfully telescoped all elements of the original. Storytelling is pacy, and Tchaikovsky’s hit tunes come thick and fast in an edited recording of the score prepared by creative associate Nicolette Fraillon.

Based on the original Marius Petipa choreography, McAllister has adapted the work for an economical company of ten dancers. To prevent save parents from continually whispering the story to their children, the character of Drosselmeyer the Magician has been reimagined as a narrator. There is a gentle pantomime-like quality to the text, that sees children covering their eyes and chanting magic words when requested, and eagerly calling responses as the story unfolds. Actor Sean McGrath has a whimsical manner and a twinkle in his eye as Drosselmeyer, a role that could almost be based on McAllister himself.

The touring production is streamlined by the use of projections as scenery. Graphic artist Tracey Lee-Cooper has provided attractive backdrops, with a touch of animation to add to the magic. Lighting designer Jon Buswell expertly illuminates the dancers while allowing the rear projection screen to be seen at full vivid brightness.

The scenic design may be relatively simple, but the costumes are a truly lavish treat. Designer Krystal Giddings begins with the traditional Edwardian children’s costumes, before delivering frisky rats, brave soldiers and the handsome national costumes of dancers in the Land of Sweets. Highlights include the gorgeous colours in the checked matching costumes of Harlequin and Columbine, the Sugar Plum Fairy’s frosted plum tutu, and the seemingly infinite ruffles of the Spanish dancer’s dress. Young audience members were also greatly taken by the licorice allsorts striped tights and silver patty pan dresses of the marzipan Mirlitons.

In a clever Wizard of Oz-like touch, the three boys who become soldiers hold the same gifts (a bugle, a rifle and a sword) that they received at the Stahlbaum’s Christmas party. The King Rat has a Dickensian quality to his long shabby coat, draped woolen scarf and worn top hat.

Another nifty invention from McAllister and Giddings is the use of a colourful Chinese dragon for the beginning of the Chinese Dancers’ divertissement.

The benefit to the young cast members is that they are all clearly seen in the spotlight, rather than dancing en masse behind principal artists. Each of the performers dances with flair and polish, and brings lively characterful elements to their role.

Chantelle van der Hoek makes an utterly charming Clara. She is well supported by corps de ballet member Edward Smith (The Nutcracker/Prince), who has the clear look and talent of a future soloist.

Fellow corps de ballet members Kelsey Stokes and Lucien Xu merrily dance Columbine and Harlequin, with Xu also a strong partner in the Spanish Dance.

Harley Campbell, Saranja Crowe, Jasmin Dwyer, Elise Foster, Jack Gibbs, Walt Isaacson and Timothy Szczepkowski-Collins complete the well-matched cast.

Miss Eight, Man in Chair’s partner for the evening, sat spellbound during The Nutcracker, happily chanting and responding, and following the story with ease. Her favourite costume was the Spanish Dancer’s ruffled dress, and her favourite moment was when Clara knocked out the King Rat with her ballet shoe.

Storytime Ballet: The Nutcracker is ideal holiday entertainment for children lucky enough to secure a ticket.

Storytime Ballet: The Nutcracker plays multiple sessions at Playhouse, Arts Centre Melbourne until 18 December 2016, before touring to Sydney, Chatswood, Wollongong, Penrith and Canberra.

Photos: Jeff Busby

Commemorating 70 years since Sadlers Wells Ballet moved across town to reopen Royal Opera House after WWII, The Royal Ballet’s The Sleeping Beauty remains a traditional, highly decorative production with an agreeable mix of clear storytelling and virtuosic dance.

The 1946 production, by Ninette de Valois (founder of Sadlers Wells Ballet) and Nicholas Sergeyev, was updated in 2006 by Monica Mason and Christopher Newton. Peter Farmer provided additional designs for the 2006 staging, to complement the work of original designer Oliver Messel. This performance began with an appearance on stage by Kevin O’Hare, Director of The Royal Ballet. O’Hare dedicated the performance to Farmer, who sadly passed away on New Year’s Day this year.

As well as featuring scenic design on a grand scale, the production boasts exquisite, highly detailed costumes. Fairies, cavaliers, royals and fairytale creatures all look uniquely attractive while forming part of the cohesive stage picture. Costume highlights include the progress of grandiose royal fashion for the King and Queen, the dark sparkle Carabosse’s black, purple and red gown, and the luscious musk pink, with white and coral trim, of Aurora’s 16^th birthday ensemble.

Marius Petipa’s original choreography is extended and enhanced by choreographic luminaries Frederick Ashton, Anthony Dowell and Christopher Wheeldon. The Prologue, which details Princess Aurora’s Christening, gains energy as the action moves from courtly formalities to festive dance. Festivities in Act I are centred upon Wheeldon’s lovely Garland Dance. Prince Florimund is given time to establish his melancholy stance in Act II before the tale moves briskly through his reawakening of Aurora. The pure beauty of dance takes centre stage in Act III, as well-chosen divertissements lead to the scintillating grand pas de deux.

As Princess Aurora, Sarah Lamb dances with seemingly effortless control and regal beauty. She performs the famous Rose Adagio sequence with expert balance, and breezes through the rigours of Act II. While Lamb’s dancing is a pleasure to watch, it must be noted that she misses some of the character development of the young princess, not sufficiently differentiating the lively hope of the 16 year old Aurora from the distant sorrow of Aurora in The Vision and the jubilant Aurora at her Wedding.

Making his entrance in act two, Vadim Muntagirov quickly establishes the aunting loneliness of Prince Florimund. The character is quick to respond to the Lilac fairy’s news of a sleeping princess, moving on with blossoming self-confidence at his royal Wedding. Long limbed and with a deceptively youthful countenance, Muntagirov brings abundant energy and masterful technique to the role, impressing mightily in solo work in Act III. Muntagirov and Lamb work beautifully together, in particular, forming the three swan dive poses with spectacular precision.

As King Florestan XXIV and His Queen, Christopher Saunders and Elizabeth McGorian ground the drama with performances of emotional intelligence. As Catalbutte, the bristling master of ceremonies, Alastair Marriott is only really given one note to play (and one costume to wear through the years) but he plays it exceedingly well.

Of the six fairies delivering christening gifts, Helen Crawford (Fairy of the Golden Vine) stands out, showing an exacting level of precision in her excellent featured solo in the Prologue. Claire Calvert has a gentle air of authority as Lilac Fairy.

Francesca Hayward and Alexander Campbell enjoy electric chemistry and dance with tremendous strength and beauty in the show-stealing roles or Princess Florine and the Bluebird.

Paul Kay and Leticia Stock are delightfully exacting as Puss in Boots and the White Cat.

Conductor Valery Ovsyanikov maintains a serene composure as he leads the Orchestra of the Royal Opera House, barely needing to glance at the score. Flaring brass fanfares are heard to full effect, with resounding brass also enhancing the dramatic moments as Ovsyanikov moves with brisk confidence through Tchaikovsky’s jewel box of a score.

The Sleeping Beauty is a pleasure for newcomers and long-term aficionados alike. The abundant skill and loving care expended in mounting this production bring additional splendour to its welcome return season.

The Sleeping Beauty was reviewed 7.15pm 3 January 2017.

The Sleeping Beauty returns to Royal Opera House on selected dates in February and March 2017. It will be filmed for The Royal Ballet’s Cinema Live Season on 28 February 2017.

Photos: Simon Parris

Dazzling and affecting in equal measure, Matthew Bourne’s new work The Red Shoes is as superbly realised as it is ingeniously conceived.

The destructive influence of spurned lover Sergei Diaghilev on the career of Vaslav Nijinsky made ideal fodder for 21^st century John Neumeier ballet Nijinsky. For their seminal 1948 film, however, Michael Powell and Emeric Pressburger changed the sexes to have rising ingénue Victoria Page fall victim to the jealous machinations of dance impresario Boris Lermentov. Combined with the dark Hans Christian Anderson fairytale The Red Shoes, the movie, and now the stage production, has a gritty, involving substance that has the audience spellbound throughout.

Working with his frequent design associates, Bourne has concocted an excellent vehicle to showcase the unique talents of his inimitable team of dancers at New Adventures. The work features distinctive characters and a strong narrative drive, with a dance world setting that is as intriguing, attractive and relevant to the cast as it is to the intended audience.

Apart from selecting and adapting such perfect source material, Bourne’s masterstroke here is the inspired choice of Bernard Herrmann music for the score. Hermann’s music, written for Hollywood soundtracks, ranges from richly romantic to moodily mystic, all with an undercurrent of ominous tension. As played live by an orchestra of 16 musicians, the score suits the work so perfectly that it sounds custom written.

Designer Lez Brotherston has created a flexible, ornate proscenium arch, which moves to show the Lermentov dancers working onstage and off. In the style of the ballet attended by the Royal Party in Matthew Bourne’s Swan Lake, Bourne has created pastiche ballets within the ballet, with a cheeky, but ultimately respectful, nod to the distinctive Ballet Russes style of the era.

Paule Constable’s lighting design is equally crucial to the show-within-a-show conceit, also drawing the eye to details in the bustling full company scenes.

The evening opens with Countess Tamara’s Dilemma, which foreshadows the impending tale by featuring a jealous love triangle. At a subsequent soirée, Lady Neston insists Lermentov sees her niece Victoria, who actually dances her audition for him in this version. Lermentov does not really take notice of the young dancer until he visits class, where she is as unfailingly composed as the prima ballerina is increasingly flustered.

In a delightful piece of business, fur clad prima ballerina Irina Boronskaja simply holds her dress in place for a stage rehearsal, while premier danseur Ivan Boleslawsky drolly follows along, cigarette in mouth. In another charming sequence, an onstage French beach ballet scene transforms into an offstage visit to Monte Carlo.

As the company prepares for La Sylphide, Dorothy Brock Boronskaja breaks her ankle, allowing Peggy Sawyer Victoria to take over the lead.

In a nod to New Adventures’ working style, Lermentov and his assistants and designers create their new ballet The Red Shoes at his mansion. The Covent Garden set box they work with materialises on stage, as clean white trapezia-cut panels fly in. Crisp black and white projections (by Duncan McLean) show a smart city scene, as a devil in red pinstripes tempts Victoria’s character with the red shoes. The character dances her way into the firmament and her lover becomes a priest, touched by her spirit in cemetery.

Flush with the success of opening night, Victoria comes off stage and kisses her boyfriend, composer Julian Craster, leaving Lermentov in a jealous rage.

Act two opens with the company in gay spirits at their end of season party. Lermentov skulks about, bristling at the sight of glowing lovers Victoria and Julian. As the company rehearse their new work Concerto Macabre, Boronskaja has resumed her place. Lermentov has cast Victoria and Julian out, and the pair are seen miserably existing in an East End music hall six months later. The stage revolves to alternate between Lermentov’s lavish Monte Carlo office and the lovers’ miserable London digs. Just as the stage character is compelled to dance while wearing the red shoes, Victoria is compelled to return to dance the ballet for Lermentov, a decision that ends in offstage tragedy of its own.

At this performance, enchanting Australian born dancer Ashley Shaw played Victoria Page as a dewy, yet determined, heroine. Shaw’s fluttering pointe work was impressive, and her droll music hall turn was a hoot. Shaw successfully gains the audience’s symapthy and affection, heightening the impact of the tragedy.

Sam Archer brought a driven focus to uptight showman Boris Lermentov, maintaining a compelling stage presence while neatly underplaying the emotions of the callous tyrant.

Chris Trenfield had a distinctly masculine presence as Julian Craster, his expressive, open face beaming with love before clouding with depression. Trenfield took full advantage of the composer’s choreography to establish the life-affirming effect of music on the character.

With eye make-up the might be seen from the moon, Anjali Mehra-Hughes brought delicious comic touches to prima ballerina Irina Boronskaja. Long-time New Adventures star, and co-dance captain for the production, Dominic North brought his distinctive talent to premier danseur Ivan Boleslawsky, dancing the role with great flair while bringing a whole world of character to the role. Ivan’s affectionate romance with Lermentov’s secretary Dimitri (Joe Walkling) was both a sweet and realistic touch.

Glenn Graham utilised a full range of facial and physical expression to play eccentric ballet master Grischa Ljubon. Nicole Kabera had a lovely cameo as Lady Neston, bored to tears at her own soirée.

The sold out season of The Red Shoes continues at Sadler’s Wells until 29 January 2017, before undertaking an extensive UK tour.

Photos: Jonah Persson

Surreal and deliberately inscrutable, production and performance of the David Bowie musical Lazarus respects and subtly celebrates the great artist’s talent and legacy.

Bowie’s premise, fleshed out by book writer Enda Walsh, is the abstract mindscape of tortured soul Thomas Jerome Newton, central character of The Man Who Fell to Earth. Newton exists in a gin-addled haze in his East Village apartment, unable to die, missing his great love Lily, and yearning to return to his home planet.

Early book scenes seem to be unlinked, introducing Newton’s young housekeeper Elly and her partner Ben, an associate of sorts named Michael and a serial killer named Valentine. Newton converses first with Maemi and then with Girl, apparitions who originate in music video clips on the television. Gradually, Newton’s world comes together, but interpretation is largely in the eyes of the audience.

While the context puts the musical on stage, it is the music that is the chief attraction. Bowie’s score mines his extensive back catalogue, with just three brand new songs written for the show, but it is far from the oft-derided jukebox musical style. Lyrics are not subverted for contrived plot and character purposes, but rather songs are chosen for the way they resonate in certain situations. Only two numbers, “Absolute Beginners” and “Heroes,“ could be considered hits familiar to the general public.

Musical supervisor and orchestrator Henry Hey has overseen a superb recreation of the score, which is not only sung by outstanding vocalists but is played by an obviously handpicked band of eight excellent musicians. Sound design, by Tony Gayle, is at musical theatre volumes but nonetheless creates an immersive rock concert vibe.

Director Ivo van Hove works closely with designer Jan Versweyveld to produce a continuous series of impactful visuals. Versweyveld begins with a blank canvas, in which the walls, ceiling, bedding and Newton’s costume are all the same milky brown, with video designs by Tal Yarden and, to a lesser extent, costume design by An D’Huys adding colour and texture.

Choreographer Annie-B Parson works closely with van Hove to chart the energy levels of the characters and to allow the music to organically infuse the characters with movement.

Michael C. Hall gives an extraordinary performance as Thomas Jerome Newton. Adopting a sombre John Noble-type voice, Hall conveys Newton’s unrelenting bewilderment, infusing his every fibre with an unrequited longing for peace and completion.

As the waif-like Girl, Sophia Anne Caruso’s vocals have a mature, rich sound that belie her petite frame.  Michael Esper presents Valentine’s sadism as being tinged with subdued sociopathic glee. In the role of Michael, the imposing masculine presence of Tom Parsons (Guy, Once, Melbourne) makes his character’s fate all the more shocking.

Credited as Teenage Girls, Maimuna Momeno, Gabrielle Brooks and Sydnie Christmas provide honeyed backup vocals.

More a cultural experience than a traditional piece of musical theatre, Lazarus represents a communal memorial to the brilliance of Bowie.

Lazarus was reviewed 8pm Thursday 5 January 2017.

Lazarus plays at Kings Cross Theatre, London until 22 January 2017.

Photos: #1 Jan Versweyveld; #2-6 Jonah Persson

For their popular annual winter musical, Menier Chocolate Factory serves up a delectable chocolate box of melodies with Golden Age romantic musical comedy She Loves Me.

The deftly realised production makes maximal use of the relatively modest space. Designer Paul Farnsworth employs four side-by-side revolves, which dissolve the street scene to the exquisitely ornate pink and gold interior of Maraczek’s Parfumerie. The ingenuity continues throughout the scenic design, as sliding panels and replacement segments maintain the decorative theme while creating other locations.

Costumes and hair give a strong suggestion of 1930s Budapest without becoming too restrictively traditional. Amalia’s purple floral ensemble, worn for her first meeting with Dear Friend, is a lovely highlight. The ensemble women are well-served, wearing glamorous outfits that suggests that each of the female customers never leave the house without a fox fur on her shoulders, gloves on her hands and a permanent wave in her hair.

Given the quaintly European visuals, director Matthew White makes the interesting choice of having the characters speak with British accents. These are not just neutral, I’m in a play, accents, but distinctive accents that designate class and station. The accents suggest a similar a background to what the characters would have had in Budapest. The intimate performing space allows facilitates an especially close connection between characters and audience, allowing the nuanced developments of the three very different love stories to be keenly felt.

In this distinctively musical comedy, Jerry Bock’s gorgeous melodies and Sheldon Harnick’s witty lyrics are intricately woven throughout Joe Masteroff’s carefully plotted book. White makes a witty nod to the composers’ bet known hit, beginning the show with a fiddler on the roof street.

Scarlett Strallen plays dear Amalia as a modest young woman who has little confidence or flair in her wide doe-eyed, peaches and cream beauty. Strallen wins hearts with Amalia’s tender fragility, giving a beautifully modulated performance that really brings the audience to her. Above all this, the real highlight is the sublime quality of Strallen’s crystalline soprano, which is an absolute joy to hear.

Mark Umbers brings a worldly poise and plummy tones that seem slightly above Georg’s station, although this means there is no difficulty envisioning him as future owner/manager of the store. A highly intelligent actor, a hallmark of Umbers’ performance is the multitude of levels and expressions he finds in songs such as “Tonight at Eight” and “She Loves Me.”

Katherine Kingsley adopts a strident style as Ilona, contrasting noticeably with her more restrained castmates. Still, her sassy characterisation is a real crowd pleaser and she successfully conveys Ilona’s lack of self-esteem despite her glossy veneer. Kingsley hits her peak with three act song “A Trip to the Library,” interpolating a male character’s voice to great comic effect.

Dominic Tighe conveys Mr Kodaly’s unflustered sleaziness with charm. Les Dennis balances the curmudgeonly and kindly aspects of Mr Maraczek. Callum Howells is an effervescent bundle of energy as delivery boy Arpad. Cory English delivers a memorable cameo as tightly wound Head Waiter at Café Imperiale.

The ensemble is a generous size, comprising of eight singer-dancers.  There isn’t a large amount of choreography for Rebecca Howell to contribute, but she ensures that “Tango Tragique” is a nifty showstopper. The overture and linking scenes are staged choreographically with a stylistic vocabulary.

Jason Carr’s orchestrations are a feature of the production, providing a lively, vibrant accompaniment. It is an especial pleasure to hear accordion used so prominently.

This charming production of She Loves Me is the ideal winter warmer; attendance is highly recommended.

She Loves Me was reviewed 8pm Friday 6 January 2017.

She Loves Me plays at Menier Chocolate Factory until 4 March 2017.

Man in Chair reviewed She Loves Me on Broadway in March 2016.

Photos: Tristam Kenton

As big a hit now on the West End as on Broadway, School of Rock has cemented its place as Lord Andrew Lloyd Webber’s return to the top.

School of Rock is not highbrow art by any stretch, but the show is expertly crafted as a sure-fire crowd pleaser, and if you are not grinning and clapping along at the big Battle of the Bands finale then you might as well just stay home.

When you are one of musical theatre’s most powerful players you have a great many talented friends to call upon for collaboration. Glenn Slater has contributed the lyrics for Lloyd Webber’s catchy rock score, with Julian Fellowes penning the feel-good book. “You’re in the Band” is arguably the best song about teaching kids music since “Do Re Mi,” and “Stick it to the Man” is a similarly energetic show-stopping anthem.

Based on the 2003 movie, the stage show expands upon the kids’ lives to a greater extent. One of the cleverest aspects of the scenario itself is that misfit slacker Dewey Finn thinks he is subverting education by teaching the kids to rock, but, in actual fact, the style of themed, collaborative, open-ended project the kids undertake is exactly the learning format that expensive grammar schools thrive upon.

Director Laurence Connor keeps energy sky high and storytelling clear and broad. Whereas as the Broadway production has a dedicated cast of children, the West End production has three sets, so it is a credit to the talent of the cast, and to Connor’s hard work, that the children at this performance are as perfect for their music, singing, acting and dancing as they are. Joann M Hunter’s choreography appears to be as much fun the cast to perform as it is for the audience to watch.

The curve of the stage and rake of the New London Theatre auditorium give the show a highly appropriate rock concert vibe. Anna Louizos’ large-scale sets have been adapted to the semi in the round configuration. The almost nonstop flow of scenic elements must be a logistical nightmare but makes for a dynamic, fluid show. Natasha Katz delivers traditional music theatre lighting as well as authentic rock concert effects.

As Dewey Finn, David Fynn performs with such uninhibited energy that he is saturated by the end of act one. Offstage life must include a decent eating regime to maintain the requisite stocky frame of the character. Fynn performs the epic role with stamina and gusto, developing a believably close relationship between Finn (known as Mr Schneebly for most of the show) and his young charges.

Florence Andrews handles the high notes of uptight principal, and closet soprano, Rosalie Mullins with ease. Preeya Kalidas looks sensational, as ever, and is a good sport in playing nagging girlfriend and interfering do-gooder Patty di Marco.

Standouts from the children at this performance included Isabelle Methven as alpha student Summer, Jake Slack as sensational lead guitarist Zack, and Adithi Sujith, who delivers an unwavering a capella solo when meek new student Tomika fills comes out of her shell.

The Australian season of School of Rock can surely not be far off at this point.

School of Rock was reviewed 7.30pm Saturday 7 January 2017.

School of Rock plays at New London Theatre.

Man in Chair reviewed School of Rock on Broadway in April 2016.

Photos: Tristam Kenton

A stunning new large-scale production, 42nd Street deservedly enjoyed a sold out season at Théâtre du Châtelet.

Presiding over this sensational, expertly realised production, Stephen Mear gives a clear demonstration that he is at the very top of his game. As director and choreographer, Mear gives Broadway valentine 42nd Street the sort of dazzling treatment it originally received at the hands of Gower Champion. The simple story is told in broad, clear strokes, and the colourful characters are brought vividly to life by a very well chosen cast.

The sheer size of the company is extraordinary, with the leads and ensemble comprising of some 46 performers. More than 30 pairs of tapping feet give opening number “Audition” a mighty impact, and the staging continues at that mighty scale throughout the show. “Getting Out Of Town” benefits from the vocal heft of all 46 performers singing together, with “Lullaby of Broadway” receiving a similar advantage.

The large cast size is complemented by the spectacular scenic design of Peter McKintosh, which manages to respect the traditional style of the show but also update it to modern and innovative standards of production. McKintosh frames the staging with the riveted steel that is building New York in the 1930s. A centrepiece of the design is a three story full width pair of units that represent the back balconies and stairways of a Broadway theatre. This is chiefly used to represent the dressing rooms in “Sunny Side To Every Situation,” and is re-dressed to be the swanky art deco Regency Club in Philadelphia. McKintosh saves the best for last, backing the “42nd Street” finale of show-within-a-show Pretty Lady with an absolutely stunning circular overhead New York streetscape.

Much of the scenery is enhanced with more inbuilt lighting, as part of the highly attractive lighting design of Chris Davey. Davey also nails the delicious visual humour of Dorothy Brock’s early number “Shadow Waltz.”

McKintosh’s beautifully detailed costumes are often as witty as they are visually appealing. Purples, reds and blues create a lush visual palette that is carried through the designs. For “We’re in the Money,” instead of carrying and dancing on giant coins, the dancers sport coin trim all over their gold and dark blue outfits, topped off by a spray of coins as a tiara for each girl. The girls wear outsized floral headpieces as Billy croons “I Only Have Eyes For You.” The traditional fashion parade styling of “Dames” sees the girls practice their deportment in mauve delicately bedazzled slips before returning as individual Ziegfeld Girls all in white.

As with the 2001 Broadway Revival of 42nd Street, the “Dames” sequences includes “Keep Young and Beautiful” for Maggie and Bert, with an extra soprano showcase for Maggie and extended dance break for the men, who are smartly attired in black tails with gleaming violet trim.

Mear also retains additional Pretty Lady number “Plenty of Money and You,” which gives a good chance to see Peggy in action as the leading lady. The short reprise of “Getting Out Of Town” is also utilised, as the company returns to New York from Philadelphia.

As with the scenery, Mear’s choreography is grounded in the traditional staging of the show but significantly adapted and enhanced – to terrific effect. Dancing is crisp and tightly uniform, and dance breaks are generously sprinkled throughout the show, in the way that only a director-choreographer can achieve. Highlights are numerous, but must include the infectious joy of “Go Into Your Dance.”

Musical director Garett Valentine has the luxury of 25 musicians in an open orchestra pit (remember those?). The overture and entr’acte are played at breakneck pace, but the accompaniment throughout the body of the show is more moderately paced. The Théâtre du Châtelet was built as an opera house, so the sound of the music wafting from the pit is wonderful, plus vocals can actually be heard live from the stage. (Both vocal and instrumental music are, of course, amplified as well.)

Heading the company is West End leading man Alexander Hanson, who brings significant class and polish to Director Julian Marsh. A handsome and commanding actor, Hanson plays up the spark of attraction between Marsh and young Peggy without making the relationship seem inappropriate.

Ria Jones brings to mind the mighty Ethel Merman as she plays fading stage star Dorothy Brock. Dressed in shades of lavender and purple as her signature colour off stage, Brock goes into full Reno Sweeney mode wearing red for her ill-fated brief appearance in the first preview of Pretty Lady. Jones speaks with a deliberately clear and measured tone, ensuring full clarity in her delivery. When singing, her vocal belt really packs a punch.

Monique Young is a charming Peggy Sawyer, a true triple threat but with particular skill in dance.

Dan Burton has the stage presence to make young male lead Billy Lawlor more memorable than usual.

Jennie Dale channels Melissa McCarthy as she makes writer and comic performer Maggie Jones a warm and lovable character. Carl Sanderson partners Dale with flair, playing quirky performer and writer Bert Barry.

Emma Kate Nelson has the smoky eyes and distinctive voice to make featured ensemble member Anytime Annie really stand out from the crowd.

Paris had this world class production of 42nd Street all to itself for just a short winter season. Visiting for the day from London was an extravagant way to see the production, but extremely worthwhile.

At the conclusion of this final performance of the season, Anne Hidalgo, Mayor of Paris, presented Jean-Luc Choplin, retiring Director General of Théâtre du Châtelet, with the Grand Vermeil, the medal of the City of Paris.

42nd Street was reviewed 4pm Sunday 8 January 2017.

42nd Street played at Théâtre du Châtelet 22 November 2016 to 8 January 2017.

Photos: #1 – #3, #5, #6 Marie-Noelle Robert; #4 Francois Guillot;  #7 Simon Parris

Brimming with lively energy and infectious charm, classic musical Half A Sixpence benefits mightily from the Cameron Mackintosh reinvention treatment.

The secret of the original 1963 musical, a star vehicle for megastar of the day Tommy Steele, is that it was based on the semi-autobiographical novel Kipps by H. G. Wells. Returning to the source material has strengthened this new version of Half A Sixpence, fleshing out supporting characters and incorporating resonant social commentary as young Arthur Kipps navigates the social classes of late Edwardian England.

Mackintosh, serving as co-creator as well as producer, reunited the highly successful Mary Poppins writing team to rewrite the musical, which had originally suffered from an awkward structure and a top-heavy focus on lead character Kipps. Book writer Julian Fellowes (Downton Abbey) is in his element, integrating an abundance of social mores and manners throughout the tale. Composers George Stiles (music) and Anthony Drewe (lyrics) have adapted and extended the original score, by David Heneker MBE, infusing the show with the modern musical theatre sophistication in which songs reveal character and drive the plot forwards.

In enhancing Heneker’s songs, Stiles and Drewe do not quite reach the giddy heights of Mary Poppins’ “Jolly Holiday” and “Supercalifragilisticexpialidocious,” but there are an abundance of catchy toe-tapping tunes on stage. By moving hit song “Flash, Bang Wallop” to the act two finale, the pair has written, in its place, a showstopper for the ages in “Pick Out A Simple Tune.” Beginning just with Kipps on his beloved banjo, the number erupts into a joyous rhythmic feast as the stuffy guests at Lady Punnet’s musical soiree join in on spoons and anything else they can get their hands on. Just try getting that melody out of your head during the first week after you hear it.

The show appears to break a basic rule of musical theatre writing when Kipps receives the goal of his I wish song in very short order. Directly after the “Money to Burn” reprise, Kipps discovers he has inherited a fortune from his heretofore unknown grandfather. The show progresses on without much tension for a time, but then focus shifts to the outcome of the central love triangle. Will Kipps remain with his major crush Helen Walsingham (and her grasping family) or reunite with his childhood sweetheart Ann, now a parlour maid? Only time, and a small handful of introspective ballads, will tell.

Production designer Paul Brown has crafted a handsome staging that blends technology with tradition. Borders of white ornamental wrought ironwork frame the action, with a donut stage revolve facilitating flow. Some locations are created with projections (designed by Luke Halls) on giant rear curved screens, while at other times, these screens open to reveal fully realised settings.

Brown contrasts the uniformed and dark coloured dress of the working and serving class with the unbesmirched white and cream of the upper classes. Newly moneyed, Kipps stands out from the crowd in a number of dandy suits. A highlight of the stylised costuming are the dresses worn by female guests at Lady Punnet’s soiree, which are all variations in chartreuse with black trim.

Director Rachel Kavanaugh keeps energy broad and high, and clearly establishes the range of colourful characters.

A significant proportion of the enjoyment of the show can be attributed to the terrific work of choreographer Andrew Wright. The tightly drilled choreography is frequently spectacular, and is well integrated with the storytelling, in that dance is seen to emanate from the exuberant joy of the characters.

Wright is truly blessed to have a leading man of such incredible dance ability. Breakout West End star Charlie Stemp, only 22 years of age, is an extraordinary triple threat who can perform all manner of eye-popping dance moves, even while singing a solo. On stage for almost the entire show, Stemp’s wide-eyed charm carries the show while never upstaging his numerous co-stars. Writing and direction are in Stemp’s favour, as the vulnerabilities of Arthur Kipps and the trials he endures increase his likeability exponentially.

As Ann Pornick, Arthur’s first love, Devon-Elise Johnson sings with warmth and strength and has the audience clearly on her side. Emma Williams manages to bring a note of sympathy to plummy-voice beauty Helen Walsingham, balancing the triangle with a degree of sympathy in her favour.

Half a Sixpence is perhaps a rifle overlong at 165 minutes (including interval), but it’s lively finale and curtain calls leave the audience on a jubilant high. Hopefully the production will be enough of a hit to make its way to Australia, where it is sure to be embraced.

Half a Sixpence was reviewed 7.30pm Monday 9 January 2017.

Half a Sixpence plays at Noel Coward Theatre, London.

Photos: Manuel Harlan

Equal parts charmingly festive, dreamily romantic, eerily haunting and tenderly moving, Mary Skeaping’s Giselle provides English National Ballet with a pristine showcase for the beauty of dance.

Following closely after the avant-garde Akram Khan’s Giselle, which returns to the Coliseum in September, this production by Mary Skeaping is thoroughly and unashamedly traditional. A staging as pure and faithful as this clearly demonstrates why Giselle has remained a timeless treasure of ballet repertoire the world over.

Regular balletgoers will need no explanation of the scenario of Giselle. Even first time viewers will have no difficulty following the plot, given Skeaping’s frequent use of mime, particularly in act one. The occasion of the Harvest Festival and a royal visit coincide with Giselle’s discovery that her true love is actually a Duke in disguise, causing the fragile girl to dance herself to death. In the second half, Giselle nobly protects Albrecht from the ghostly Wilis, saving him from certain death.

The production dates back to 1971, when English National Ballet was known as London Festival Ballet. Skeaping’s choreography actually dates back as far as 1953, when she drew on experience and significant research to create her version for The Royal Swedish Ballet. An example of choreography distinctive to this version comes in a set of visually thrilling sequences in act two, when gamekeepers accompanying Hilarion to the forest are surrounded and chased by scores of Wilis.

The luxurious purple velvet curtain of the Coliseum opens on the warm autumnal glow of the clearing outside Giselle’s simple cottage. Designer David Walker paints an aesthetically pleasing stage picture, using a palette of close shades of brown and yellow for background and costumes alike. The prominence of the royal party in the story is indicated by the clear sight of the hilltop castle in the distance. The capacious stage provides room for thick towering trees and a pair of solidly built cottages, with abundant room for dance centre stage.

Walker dresses the visiting royal party in richer autumnal tones. The Prince of Courland sports a black Tudor profile, with his daughter Bathilde looking splendid in an opulent brocade gown.

David Mohr recreates the lighting, which is especially significant in the second act. The graveyard site begins in swirling mist, before slowly becoming clearer, as thin beams of light stream gently down between dense overhead branches.

Under the highly experienced baton of conductor Gavin Sutherland, the English National Ballet Philharmonic gives an excellent performance of Adolphe Adam’s lovely score. The quality of the music complements the sterling work on stage, as well as being an attractive feature in its own right.

Artists of the Company acquit themselves superbly in Giselle. Male and female corps de ballet dancers bring lively personality to the stage as the Harvest Festival progresses in act one. The female corps comes to the fore in act two, in which the dancers’ uniform precision creates any numbers of attractive formations as the Wilis do their worst. Moments when small groups of Wilis spookily and speedily float across the stage are performed to great effect.

Principal Laurretta Summerscales brings a confidence and presence to Myrtha Queen of the Wilis, dancing with unflinching poise and gently commanding presence.

As Myrtha’s assistants, Senri Kou (Zulma) and Crystal Costa (Moyna) project just enough character to stand out with distracting from the overall formations of Wilis.

A truly lovely extended highlight in act one is the Peasant pas de deux. With much exposition having come before this sequence, Rina Kanehara and First Soloist Cesar Corrales raise the stakes in terms of dance, with delightful work that grows in excitement as the scene progresses.

Character artist Jane Haworth brings a compassionate nature to Giselle’s anxious mother Berthe, making it clear that her prescient concerns derive from deep love and affection for her daughter.

Soloist Fernando Bufalá performs the somewhat thankless role of Hilarion with sharp focus. While there is little or no chance for the character’s underlying love for Giselle to be expressed, Bufalá gives Hilarion a determined drive with just enough humanity that the audience feels sorry for him in death.

The sight of a tall, dark and handsome man behaving so timidly endears Albrecht, danced by Lead Principal Isaac Hernández, to the audience immediately. His heart on his sleeve, Albrecht tentatively considers knocking at Giselle’s cottage, hoping for at least a sight of his beloved. Perhaps it was his character work, but Hernández himself seemed to begin somewhat tentatively on opening night. From the character’s second entrance, however, he performed with confident gusto at full strength, and did not look back for the rest of the evening.

Hernández manages to be both sweetly romantic and authentically masculine, tempering the strength of his dancing with a fluid grace that presents real beauty.  Hernández is favoured by the choreography, which gradually increases in spectacle over the evening, allowing him to continually rise to new heights and further impress the appreciative audience.

One of the ballet world’s greatest Giselles, Lead Principal Alina Cojocaru made an auspicious role debut as the title role of Mary Skeaping’s Giselle on this occasion. Giselle’s petite fragility is enhanced by the fact that the dancers playing Albrecht, Berthe and Bathilde all tower over her. In a delightfully accomplished performance, Cojocaru does the work of at least two dancers across the ballet. Her act one Giselle is playfully girlishly and carefree, despite the looming threat of her weak heart. Cojocaru conveys Giselle’s delight at dallying with Albrecht and being elected harvest Queen with her full facial and physical expression. Cojocaru’s supreme control is seen in her unflinching performance of sequences of delicate, slow movement. Her death scene, though entirely inevitable, is still surprising due to the way Cojocaru transforms so instantly from vital girl to limp lifeless form.

In act two, Cojocaru portrays Giselle’s desperate sorrow with a heavier, yet just as graceful, physicality. Giselle’s determination to save Albrecht drives the character to staunchly ward off a stage full of vengeful Wilis. Cojocaru’s exquisite performance here is the crowning glory in an already superb evening of beautiful dance.

Giselle was reviewed on the opening night of the season, Wednesday 11 January 2017.

Giselle plays at London Coliseum until 22 January 2017.

Photos: Laurent Liotardo

Slick, streamlined and spirited, Dreamgirls is a hit all over again in its first ever West End outing. High production values and excellent direction mean the show could open on Broadway tomorrow and blow them all away.

Former Glee star Amber Riley stomps all over the term “stunt casting” with a riveting performance in the role she was born to play. Beaming with a truly likeable stage presence, Riley looks adorably sweet as the fresh young Effie starts out in music, taking on layers of shade as Effie experiences ongoing hardship and disappointment. As the years goes by, Riley modifies her facial and physical expression to project Effie’s hard won maturity and independence. With the audience completely on her side, Effie’s bittersweet final victory is keenly felt. Riley’s voice is nothing short of extraordinary, the most incredible aspect being the whispered pianissimo notes she can sing in contrast to her earth-shattering belt.

Director/choreographer Casey Nicholaw asserts his West End presence with his third concurrent show, all of which are big hits. It is no small compliment to Nicholaw’s gifts that neither Dreamgirls, nor Aladdin nor The Book of Mormon are available at the TKTS discount tickets booth.

Nicholaw makes the whole show dance, particularly as the 1960s music scene comes alive and the characters’ careers take flight in act one. Focus is flipped between onstage and backstage with cinematic ease, a trick that drives the story along and also imbues many songs with simmering subtext.

Under Nicholaw’s direction, the plot of Dreamgirls is crystal clear and the numerous characters are sharply drawn (and extremely well cast).  Nicholaw has trimmed the show slightly, and has retained “Listen” from the 2006 movie, which is now a powerful 11 o’clock duet for Deena and Effie when they finally reconcile. Willie Reale is credited with contributing additional material to the original work of Henry Krieger (music) and Tom Eyen (book and lyrics).

If Nicholaw has one misstep, it is placing Effie behind a set of tables and chairs when she belts über-ballad “And I Am Telling You I’m Not Going.” Perhaps the overflowing eruption of emotion would have just been too much for the audience without some sort of protective barrier. Or perhaps less thought was given to a moment that does not involve dance.

Given the extensive use of embedded lights in the scenery, set designer Tim Hatley has clearly worked closely with lighting designer Hugh Vanstone, and both have worked very closely with Nicholaw as it is the flexibility of the design that allows for fluid changes of focus. The major element of the set is four double pillars of lights that can move to any configuration. Much of the design is abstract, with additional elements such as a glitter cloth and a set of ruched curtains creating the varied locations where the stars perform in concert.

From a creative point of view, the most spectacular aspect of the production is Gregg Barnes’ costume design. Intricate details in the costumes track the success of the stars and their managers, and the passage of time periods, as the story progresses. Costumes reflect the era, and yet Barnes has taken artistic licence to ramp up the glamour well beyond a realistic level. The result is a cavalcade of absolutely stunning gowns and flashy suits, featuring more crystals, diamantes, sequins and rhinestones than a Swarovski Christmas tree. Each new look is more eye-popping than the last.

Costume highlights include, but are certainly not limited to, the chartreuse mermaid gowns that open the show, Jimmy Early’s first two suits, the yellow floral-embroidered dresses for the TV scene (“Heavy”), and Effie’s onstage fast change in her comeback scene. Many upbeat shows end with a musical mega-mix, but this production of Dreamgirls ends with a costume mega-mix, as the ensemble appear on stage in a selection of costumes from throughout the show as the Dreamgirls farewell their fans with “Dreamgirls (reprise).”

Special mention goes to hair designer Josh Marquette for the mind-boggling number of wigs, which are just as important as costumes in tracking the girls’ success.

Each of the lead performers benefit from the clarity Nicholaw has finessed in their story arcs.

Liisi La Fontaine successfully takes Deena Jones, who is thrust into the role of lead singer of the Dreamgirls, from modest mouse to blossoming starlet to accomplished, independent woman. Her gorgeous vocals are a highlight in their own right.
At this performance, the role of third Dreamgirl Lorrell Robinson was played by Candace Furbert. Lorrell’s story, centring on her tumultuous affair with Jimmy Early, is heavily featured, and Furbert brought plenty of panache and vitality to the role.

Magnetic actor Joe Aaron Reid is outstanding as ardently ambitious manager Curtis Taylor Jr. Reid humanises the villainous role to an intriguing grey area. Saddled with much of the sing-speak dialogue, Reid makes these phrases as musical as I have ever heard them to be.

Adam J Bernard brings a lovable spark to the eye of Jimmy Early, and performs his deliberately raspy vocals with style. Bernard makes clear Jimmy’s torment as he is straightjacketed to achieve mainstream appeal, and the ultimate fade-out of the character is all the more disappointing after such a strong performance all night.

Tyrone Huntley is sweetly sincere as Effie’s song-writing brother C. C. White. Nicholas Bailey captures the noble character of rejected manager Marty, making his comeback all the more cheer-worthy. Lily Frazer is perfectly lovely as fourth Dreamgirl Michelle Morris.

London waited 35 years to see Dreamgirls, and this production means the wait was well worth it. This is the rare West End musical that is worth the high ticket price. Highly recommended.

Dreamgirls was reviewed 7.30pm Thursday 12 January 2017.

Dreamgirls plays at Savoy Theatre, London.

Photos: Brinkhoff & Mögenburg

**In which Man in Chair Keeps The Secrets (ie no spoilers), but rather just gives a brief reflection on this incredible play**

As a means of continuing the story of beloved wizard Harry Potter, a theatrical play was an inspired choice. Allowing the original book and movie series to stand intact, Harry Potter and the Cursed Child explores the adult lives of the well-known characters, and introduces a new level of excitement to the magic of their world by having illusions performed live on stage without the luxury of CGI.

(Note: photos made available by producers have been chosen so as to be as free as possible from spoilers)

The only scene that can be discussed in any detail is the opening, because this has been disclosed in full at the end of Harry Potter and the Deathly Hallows. The play begins where the book and film left off, with Harry and Ginny Potter, Ron and Hermione Granger-Weasley and Draco Malfoy at Kings Cross Station seeing their children off to the start of the school year at Hogwarts. A somewhat unlikely friendship is formed on the train, and the exploits of this pair form the basis of the dramatic story.

As with the movie series, J. K. Rowling has provided the story but has not written the script. Jack Thorne is the playwright, and both he and director John Tiffany are also credited with giving input to the story. The imaginations of Rowling, Thorne and Tiffany have created a suspenseful, intricately plotted story that has the audience hanging on every moment for the running time of over five hours. The beauty of the story is that it takes the saga forward while also incorporating an abundance of opportunities to reference the existing mythology of the series.

Set designer Christine Jones takes the Kings Cross location as inspiration for the overall design, setting the action below grand overhead arches. As with the modern style of scenic design, the solid backdrop remains on stage while individual scenes are created with minimal props. Here, these props include a pair of wooden staircases, some wood paneled walls, some doors and a large number of suitcases. Even with the massive budget, the props are still just brought on and off stage by the actors.

Katrina Lindsay’s costumes, which are often part of the magical effects, are quite neutral and straightforward in their design. The concept of giving characters a signature colour is good for identification (especially for those sitting in the fourth level) but has the unusual effect of making it appear that the adults do not changes their clothes, even as years pass. Hermione, in particular, wears the same rich purple outfit for almost the entire show.

Lighting is frequently crucial to the magic, and Neil Austin’s design creates inky blackness just as successfully as it draws the eye both towards and away from the accomplishment of illusions.

Over and above the sound and light effects that accompany most visual tricks, the commitment of the actors is paramount to the impact of these moments. Tiffany often has the actors contort their bodies and faces, and fling themselves about the stage, as their characters are subjected to all manner of magic. It is a credit to Tiffany and the cast of thirty that the story and the magic are as believable and affecting as they are. At this point, the original cast are really firing, and group scenes that involve heated discussion contain rapid fire delivery of dialogue and a strong sense of trust.

The play is enhanced by moments of choreographed movement, by Steven Hoggett. Hoggett is also credited with setting the fluid scene changes, which are performed with stylish flair.

Accomplished West End leading man Jamie Parker plays the adult Harry Potter with an affecting mix of strength and vulnerability. Young actor Sam Clemmett is terrific as Albus Potter; Parker and Clemmett portray an emerging father-son bond without any cloying sentimentality.

Anthony Boyle gives Scorpius Malfoy an endearing level of nervous energy, creating a character who is significantly different from his father.

Paul Thornley proves the welcome laughs that can reliably be expected from Ron Weasley.

Given the extent to which most of the adult characters match their younger counterparts in appearance quite closely, it is a bold choice to cast Noma Dumezweni as Hermione Granger-Weasley. Dumezweni clearly conveys the forthright confidence and astute intelligence of Hermione, also colouring this with Hermione’s down to earth humanity. Having been in London for two weeks now and seen some 25 productions, it is clear that London theatre leaves the rest of the world behind in terms of diversity in casting. Plays seen this season, such as Saint Joan (Donmar Warehouse), Amadeus and Peter Pan (National Theatre) and Mary Stuart (Almeida), have been performed by wonderfully diverse companies of actors, with a very healthy absence of concern about the original nationality backgrounds of the characters.

Sold out in London some 13 months ahead, Harry Potter and the Cursed Child Parts One and Two will doubtless run and run. The chance to see it will slightly increase as new productions open around the world; hopefully Melbourne will be on the list when the time comes.

Harry Potter and the Cursed Child Parts One and Two plays at Palace Theatre, London.

Harry Potter and the Cursed Child Parts One and Two was reviewed 1pm, 6.30pm Sunday 15 January 2017.

Photos: Manuel Harlan

A riveting, finely honed performance from Ben Gerrard brigs equal balance to the entertaining and the thought-provoking aspects of the life of survivor Charlotte von Mahlsdorf in I Am My Own Wife.

The one-man play was first seen in Melbourne as part of the 2006 MTC season, starring original actor Jefferson Mays, who won a 2004 Tony Award for the role on Broadway. This 2017 Melbourne season, following a successful recent run in Sydney, brings a welcome gravitas to the annual Midsumma Festival and has a timely resonance in its exploration of surviving in a world where “the leaders are clowns.”

Born Lother Berfelde, German antiquarian von Mahlsdorf lived as a transvestite in East Berlin. Having endured Nazi Germany, von Mahlsdorf went on to live through the Soviet communist regime, relying not only on her wits, charm and ingenuity but also, in all likelihood, providing the Stasi (secret police of East Germany) with information. The final photographic image of Berfelde as a boy, not to be disclosed here, gives a chilling prophetic insight into the life that was to be lived alongside potentially terrifying enemies.

The play begins with the fall of the Berlin Wall, the significance being that the subsequent freedom of tourism through Berlin allowed American writers to discover von Mahlsdorf and her Gründerzeit Museum. Playwright Doug Wright takes the unusual angle of including himself in the narrative, his excitement over the unfolding truth-is-stranger-than-fiction story shared with the audience as they experience it with him.

Covering a range of incidents from throughout Berfelde/von Mahlsdorf’s life, Wright presents the gentle humour of the character to endear her to the audience before moving on to more salient and controversial aspects of her life. Wright clearly felt a degree of sympathy for von Mahlsdorf, tempering accusations of her role as an informant with talk of the inaccuracy of Stasi reports, the forceful nature of police interview techniques and the commonplace incidence of informants.

Director Shaun Rennie guides our journey through this fascinating story with a minimum of visual stimuli, trusting the power of the script and the talents of sole actor Gerrard. The intimate setting of fortyfivedownstairs allows close connection between actor and audience, and the clean simplicity of Rennie’s staging allows this connection to form quickly and successfully.

Set designer Caroline Comino bases her design on the concept of interviews and paperwork, creating a rear wall from a multitude of redacted documents. Von Mahlsdorf’s treasures, usually portrayed by dolls house furniture, are represented her by small blocks of wood, ingeniously embedded into the table by set carpenter Joseph Scoullar.

Lighting designer Hugh Hamilton helps to create an array of zones for the various chapters of the story using shafts of light at a range of angles. There are occasionally dark patches that impede full viewing of facial expression, but the effect is very atmospheric overall.

In an extraordinary performance, Gerrard not only vividly portrays some 40 characters but does so with seamless fluidity and gently understated charisma. Gerrard brings the audience to him, eschewing any type of showy bravura. The success of Gerrard’s performance lies not just in the mastery of accents of the characters, but in the associated range of facial, physical and vocal expressions of each character. For example, many characters speak in German or with German accents, and Gerrard finds subtleties in vocal patterns to differentiate each of these.

Inspiring and engaging, I Am My Own Wife is a timely and well-produced piece of theatre.

I Am My Own Wife plays at fortyfivedownstairs, Melbourne until 5 February 2017.

Photos: Rupert Reid