The UK premiere season of 2011 Maury Yeston musical Death Takes A Holiday is as exquisitely sung as it is handsomely staged.

Sharing the characteristic quality of Yeston scores, the music has a rapturous beauty and is an absolute pleasure to hear. From the opening bars onwards, it is clear that musical director Dean Austin has prepared the singers and the band of ten musicians exceedingly well. The opening company number “Nothing Happened/Centuries” sounds gorgeous, and the reason become clear as the performance continues: each and every cast member has an excellent singing voice; there simply is not a weak link among them.

Original play Death Takes A Holiday was adapted by Yeston and book writers Peter Stone and Thomas Meehan as a slice of swoon worthy romance flavoured with a supernatural conceit that is surprisingly easy to swallow. Death comes for Grazia Lamberti, who has been thrown from a speeding car as her family and friends return from celebrating her engagement. Touched by her vitality, and exhausted from collecting souls during World War I, Death decides to grant Grazia a reprieve. Occupying the body of handsome young Russian Prince Nikolai Sirki, Death takes a holiday, spending the weekend at an Italian villa with Grazia’s family.

While the swiftly blossoming romance between Nikolai and Grazia is the key focus, Yeston deepens the musical’s emotional heft by including songs for the other characters. Once exposition is covered, the subsequent flow of songs envelopes the audience in the loveliest of music and lyrics. Arguably the best song in act one comes from new arrival Major Erin Fenton, who fought in the war with Grazia’s brother Roberto. In “Roberto’s Eyes,” Fenton recants his memory of the moment that Death came for Roberto.

Act two features one gem after another, climaxing in Grazia and Nikolai’s stunning duet “More and More.” (Thankfully, Yeston provides more of “More and More,” with a reprise at the finale.) Grazia and Roberto’s mother Stephanie sings of her loss in the touching ballad “Losing Roberto.” Grazia, her sister Alice and their friend Daisy, lovelorn all, sing the gorgeous trio “Finally, To Know.” The elderly Contessa and her long-term companion Dario share the moving duet “December Time,” a song that brings to mind the Strauss’ duet “Still” from Titanic.

Director Thom Southerland ensures that the cast are committed to the mystical scenario so that the story beats land with authenticity. Southerland shows a confident hand in using cast members, particularly those playing servants, to move the sets and props quickly and efficiently so that there is an instant cinematic flow from one scene to the next.

Death Takes A Holiday is produced at a highly impressive standard given the relatively modest off-West End location. Set designer Morgan Large has provided an ingenious construct that utilises fold-out walls of archways on each side of the stage. Painted grey, and rendered for a tactile, aged look, these panels have a multitude of positions that can be used to portray hallways, bedrooms, dining room, doorways and more. Matt Daw’s lighting design helps to vary the look of each setting, using plenty of haze to add to the spooky atmosphere of the villa. Daw also uses light cleverly to show the difference between the shadowy Death and the beaming Prince Nikolai.

Costume designer Jonathan Lipman distinguishes the classes and identifies characters clearly, all the while using a regal palette of rich crimsons and purples.

While not a dance show as such, choreographer Sam Spencer-Lane makes the most of select moments to include lighthearted movement that reflects the levity of festive scenes.

Striking tenor Chris Peluso is perfectly cast as the mysterious figure of Death and the charmingly handsome Prince Nikolai. An intensely focused performer, Peluso’s handsome looks and gorgeous voice affect the characters and audience alike. Peluso successfully plays sinister drama, dreamy romance, light comedy and arduous angst, all without a trace of melodrama. Peluso’s climactic ballad “I Thought That I Could Live” is yet another highlight of his truly wonderful singing.

Lovely soprano Zoë Doano plays Grazia Lamberti with a similar level of gentle restraint. It is a credit Doano’s endearing appeal in the role that Grazia can so promptly discard her new fiancé and yet remain entirely likeable. Doano has a rich soprano, with a full bodied middle range and soaring high notes when she needs them. Doano and Peluso share convincing chemistry, and the central dilemma is keenly felt.

Kathryn Akin conveys a warm kindness as Duchess Stephanie Lamberti. Duke Vittorio Lamberti is one of the only two characters to know the truth behind the presence of Prince Nikolai, and Mark Inscoe plays this angle most convincingly.

Samuel Thomas gives strong support as Major Erin Fenton. Scarlett Courtney, as Daisy Fenton, and Helen Turner, as Alice Lamberti, are each charming in their roles. The singing voices of Thomas, Courtney and Turner add significantly to the overall quality of the music.

Stage veteran Gay Soper carries a delightful twinkle in her eye as Contessa Evangelina di San Danielli. Anthony Cable, as the Contessa’s doctor and long-term close friend Baron Dario Albione, brings a similar level of grounded experience. The pair is a delight as they play the all too rare subplot of a late in life romance between a mature age couple.

Was I not on a plane home to Melbourne the day after being fortunate enough to see the first preview of Death Takes A Holiday, there is no doubt that I would have seen it again. The young man sitting beside me contacted friends at interval to arrange his return visit. In short, London lovers of boutique musical theatre are urged not to miss Death Takes A Holiday.

Death Takes A Holiday plays at Charing Cross Theatre until 4 March 2017.

Note: Chris Peluso plays Death/Prince Sirki until 11 February 2017.

Photos: Scott Ryland

Australia finally has the chance to say Hello! to The Book of Mormon, and this sparkling production has been well worth the wait.

Perhaps we needed the time to be ready for the show’s touches of music theatre humour. In the years since The Book of Mormon blazed across the Great White Way and swept the 2011 Tony Awards, Australian co-producer John Frost has taken the chance to stage local revivals of Wicked, The King And I and The Sound of Music, each of which are referenced in this Broadway valentine.

The language may be crasser and cruder than usual, but co-writers Trey Parker, Robert Lopez and Matt Stone have crafted a musical in the grand Golden Age tradition. The irreverent tone and outlandish humour create many a did-they-really-just-say-that moment, but it is the heart and soul that of the show that underpin its ongoing appeal.

The rare post-millennial musical not to be based on a movie or a back catalogue of pop music, The Book of Mormon boasts an original story and an all-new score. The songs are catchy, if not overly melodious, and the lyrics are simply superb. A buddy story in the tradition of The Producers and Dirty Rotten Scoundrels, the book puts preppy Elder Price and dorky Elder Cunningham through the gamut of emotions usually reserved for a romantic leading couple.

Parker shares the role of director with Broadway’s current King Midas, Casey Nicholaw. The pair grounds the outrageous action in reality; the stakes are all very genuine to the characters and the humour is far funnier for it. A potted history of the Mormon religion and an assortment of facts about its basis need no help at all to sound hilariously funny. The fact that the show still ends up at a poignant realisation of the role of religion and story telling is testament to the quality of the book, direction and performances.

Nicholaw also delivers choreography that is delightfully spectacular without being overwhelming to the scenes. Energy is kept high by involving ensemble members in almost all of the numbers. From tapping Elders to boy band members to squirming residents of hell, Nicholaw draws upon a vivid dance vocabulary to enliven each situation.

The humour expands beyond writing and direction, with many visual gags woven throughout the design elements.

Costume designer Anne Roth illustrates the poverty of the Ugandan villagers by dressing them in mismatched items that appear to have been foraged from discarded refuse. For the climactic sequence “Joseph Smith American Moses,” which is a pitch perfect parody of “The Small House of Uncle Thomas” from The King and I, Roth ensures the costumes appear convincingly hand-made by the villagers, to match their vivid interpretations of the Mormon characters they have heard so much about.

Scott Pask’s scenic design looks stunning in the Princess Theatre, the planetary design above the proscenium arch stretching higher overhead than in the Broadway and West End stagings. Pask contrasts the lush commercial landscape of Salt Lake City with the barren den of death in Uganda to great effect. The witty set within a set for “The Small House of Uncle Thomas” adds to the success of this number.

Brian MacDevitt’s lighting design adds dappled texture to the stage. One of the funniest effects of the night comes after the second time the lights go out in “Turn It Off.”

Brian Ronan’s sound design delivers the booming voices of God and Jesus in atmospheric surround sound, and neatly balances the nine musicians with the cast’s vocals. Esteemed music director Kellie Dickerson leads the band with a rocking quality that has the audience waiting to hear, and subsequently cheer, the playout music.

In a production where the show is the star, elder statesman Bert Labonté earned opening night’s sole round of entrance applause in his role as village elder Mafala. Labonté gives a reliably nuanced, deliberately underplayed performance, setting the tone for the whole show early in the night with his gently sophisticated work in wickedly subversive number “Hasa Diga Eebowai.”

Breakout star of the production is Zahra Newman as Mafala’s dear daughter Nabulungi. A veteran of many a straight play, Newman unveils an incredibly impressive singing voice that is equally comfortable singing sweetly as belting. The relationship between Nutella Nutribullet Jon Bon Jovi Nabulungi and Elder Cunningham is the closest one to a traditional musical romance, and Newman plays it with wide-eyed innocence that is all the more appealing given the dire surroundings. Newman’s crystal clear diction and elegant expression bring the humour and humanity of her role to life in equal measure.

Rowan Witt brings an infectious sparkle to repressed closet case Elder McKinley, seizing every possible moment to infuse an extra bubble of effervescence into the young mission leader’s life.

While the ensemble cast works with well-matched flair, Matt Holly and Elenoa Rokobaro deserve special mention for the high quality of their contributions.

In the lead male roles, it is somewhat difficult to see what the imported actors Ryan Bondy, as Elder Price, and A. J. Holmes, as Elder Cunningham, bring to the show that could not have been achieved with Australian actors. Holmes, with significant experience in his role, fares more successfully as well-meaning goofball Elder Cunningham.

The Australian season of The Book of Mormon is a crisply staged production of a deliriously funny musical. All the but the most conservative music theatre fans are urged to secure their ticket as soon as possible.

The Book of Mormon plays at Princess Theatre, Melbourne.

Photos: Jeff Busby

Beginning their 2017 season, Victorian Opera, continues their admirably prolific output of original material with ‘Tis Pity: An Operatic Fantasia on Selling the Skin and the Teeth.

Unfortunately, in this case, the result seems subject to the law of diminishing returns, with neither star attraction Meow Meow nor composer Richard Mills reaching the impressive heights previously attained.

The production benefits from considerable resources, with a large contingent of Orchestra Victoria on stage and a well-furnished stage setting at premier venue Elisabeth Murdoch Hall. Meow Meow is joined by vibrant operatic tenor Kanen Breen and three brawny male dancers in a brisk series of ten vignettes lightly exploring various incarnations of prostitution across the ages.

Surtitles, which are usually just plain and unobtrusive, are used as a feature of the design here, projected onto two large framed screens in eye-catching fonts. The performers select and discard props and items of clothing from about the stage as the vignettes unfurl.

Mills, artistic director of Victorian Opera, has not only written the eclectic score, but has also arranged the orchestrations and written the libretto. Musical styles include ragtime, charleston and tango, all with a showy, quasi-vaudevillian feel. Expertly conducted by Mills, the work of Orchestra Victoria is faultless, making a significant contribution of quality to the performance.

Written only last November, the work seems yet to be fully realised. At this second performance, the work of the cast seemed under-rehearsed, even if an element of this can be attributed to the deliberately impromptu feel created by director Cameron Menzies. There is a sense that there was an expectation or assumption that the larger than life stage personalities of Meow Meow and Breen would shine through and create a piece of entertainment in their own right.

Meow Meow is particularly stifled by the fact that the spoken voice travels poorly in the venue, so her usual comic asides are somewhat lost. Also, the breakneck pace of the 65-minute work impedes her from gaining the audience’s sympathy with her vulnerable fragility. Meow Meow’s loveliest moment is the tender ballad she sings in the final sequence.

Breen is in excellent voice, bringing a elegantly polished tone to his vocals. There is a touch of Cabaret’s Emcee in the way Breen delivers such intrinsically oppressive material with a wickedly gleeful grin.

Dancers Alexander Bryce, Thomas Johansson, Patrick Weir prove as flexible in their physicality as in their dancing styles, delivering characterful facial expression as well as controlled, precise movement.

‘Tis Pity: An Operatic Fantasia on Selling the Skin and the Teeth plays at Elisabeth Murdoch Hall, Melbourne Recital Centre until 8 February 2017.

The ‘Tis Pity program can be read online.

Photos: Pia Johnson

How can something so Wrong be so right? Given that Melbourne’s Comedy Theatre was the recent home of The Mousetrap and A Murder is Announced, it seemed that Cornley Polytechnic Drama Society had picked an ideal home for the opening of their Australian tour of The Murder at Haversham Manor. Little did the hopelessly inept well-intentioned company know that a panoply of pandemonium was about to befall them, stretching the very last nerve of society president, director, lead actor, designer, publicist, dramaturge, vocal coach and fight choreographer Chris Bean to snapping point.

All this merry mayhem is, of course, the creative construct of highly successful English troupe Mischief Theatre Company, who struck West End gold with The Play That Goes Wrong. Commandeering a decent slice of London’s West End, the company has added Peter Pan Goes Wrong (also shown on the BBC last Christmas) along with their latest smash hit, The Comedy about A Bank Robbery.

Achieving chaos through control, the well-rehearsed company performs all manner of stunts, with the live, on-the-fly element raising the stakes considerably. The physical comedy is further enhanced by the “real life” characters of the Society actors. Writers Henry Lewis, Jonathan Sayer and Henry Shields, of Mischief Theatre Company, have crafted a keenly observed set of amateur theatre acting stereotypes, which anyone who has trod the boards at their local community playhouse will easily recognise.

Tightly wound Chris Bean (Nick Simpson-Deeks) clings desperately to the serious nature of his production. Siren Sandra Wilkinson (Brooke Satchwell) confuses acting with pretty posturing. Robert Grove (Luke Joslin) blanks on his lines and freezes at the slightest script alteration. Dennis Tyde (George Kemp) has key words written on his hand, and mispronounces them anyway. Crowd favourite Max Bennett (James Marlowe) breaks character to beam with delight whenever he earns a laugh.

The underlying tension to the Society’s performance is the actors’ sheer determination that the murder mystery play will progress without any deviations. Their efforts to improvise to cover errors inevitably spiral into further adversity. Their inability to listen to each other’s lines results in any number of misunderstandings and confused scenes. Again, anyone who has directed or performed at an amateur or school level will really enjoy this aspect.

Australian cast director Sean Turner has recreated Mark Bell’s original direction with confidence and flair. Comic timing and physical comedy are very good, and will doubtless become even tighter as the tour progresses. The dialogue is performed without amplification, as should be the case in all good plays, but vocal resilience and clarity still need some strengthening, especially lines spoken offstage or close to loud laughter (of which there is plenty).

Nigel Hook’s design harbours a myriad of hidden tricks that are unfurled throughout the performance. Melbourne born costume designer Roberto Surace adds to the visual comedy with a set of deliberately flawed costumes that match the limited imagination and resources of the Society perfectly. Surace’s wit extends to the various insignia on the clothing of the “backstage crew;” try to read them all if possible.

Ric Mountjoy’s lighting design is another well-employed aspect of the comedy. The Australian production is expertly re-lit by experienced local designer Jason Bovaird, who brings an opulent glow to the various interiors and exteriors of the Haversham Manor set.

Simpson-Deeks is marvelously cast as rigidly uptight Chris Bean, speaking with a wonderfully rich toffy tone and conveying a churning undercurrent tension with very effectively underplayed expression.

Joslin closely attunes his commanding presence to the comic stylings, proving a great sport at entangling himself in props in the name of physical comedy.

Satchwell conveys Sandra’s vapid narcissism with verve, giving as good as she gets when she Sandra must fight stage manager Annie (Tammy Weller) for her role.

Guest English actor Marlowe lands many of the best moments, given Max’s propensity for mugging, his over-the-top physical gestures and his crippling fear of human intimacy.

George Kemp anchors one of the show’s most farcical set pieces when his Society character Max repeats a line that triggers a potentially infinite loop. Kemp’s performance of a dismal actor is also nicely underplayed.

Man in Chair was accompanied to the Australian premiere of The Play That Goes Wrong by Master Ten, who was very well engaged in the action, and especially enjoyed the precarious stunts on the collapsing mezzanine.

A broad comedy for all ages and all theatrical interest levels, The Play That Goes Wrong is enjoyably daffy theatre.

The Play That Goes Wrong goes wrong in Melbourne until 26 March 2017, before causing further havoc in Adelaide, Sydney, Canberra, Brisbane and Perth.

Footnote: Nick Simpson-Deeks’ headshot in the program is just too wickedly perfect.

Photos: supplied

Beloved Verdi classic Il Trovatore makes an all too rare Melbourne appearance in this ambitious production by CitiOpera.

In presenting the fully staged opera, CitiOpera uses its limited resources wisely, focusing primarily on the music. Conductor Gaetano Colajanni leads the assembled orchestra of 23 musicians in a carefully measured, deftly controlled performance of Verdi’s wonderfully melodious and atmospheric score. While Colajanni keeps tempi at a moderate pace, the toe-tapping pleasure of the brighter tunes comes through splendidly, reminding the audience that it has been too long since Il Trovatore graced the Melbourne stage.

Colajanni expertly supports the singers, ensuring a secure musicality for the performance. The focus on music, vital though it may be, may have reduced the time available for direction of the drama. Director Stella Axarlis keeps the storytelling and characters clear, yet there is a lack of tension throughout key scenes as singers simply stand and sing. Opportunities for dramatic shading are lost as singers seem to miss the full meaning behind the text.

While the exact setting and era are not entirely evident, this is a respectfully traditional production. Sung in Italian, the big, clear surtitles make the action very easy to follow. Set designer Erika Kimpton-Etter leaves room for the ample chorus with a simple staging of barren trees and a large multipurpose rock. Numerous locations are conveyed by Des Nikas’ generally well-chosen backdrops, which are projected crisply onto the screen that fills the entire back wall of the stage.

Silvia Scodellaro and Fred Scodellaro have sourced the wide range of costumes required to tell the tale. Leonora’s red silk gown is a highlight, her confidante Inez contrasting nicely in a similar design with muted colours. Count Manrico’s men appear in attractive but somewhat out of place red and blue medieval outfits. The chorus of nuns are beautifully attired, their careful placement on stage and lovely singing making this sequence an overall chorus highlight.

As tragic heroine Leonora, Fiona Jopson is a standout amongst the lead cast. Delivering lovely high notes and committing herself to a focused portrayal of the character, Jopson wins the audience’s affection. Leonora’s big scene in the final act begins with the tender aria “D’amor sull’ali rosee.” Following a gorgeous introduction from the woodwind, Jopson sings this sequence beautifully.

After a slight opening night wobble with his opening off-stage singing, Korean tenor Byung-Kil Yoon warmed into a heroic sound. Yoon brings a noble quality to Manrico, maintaining a romantic aspect to the militial character. Yoon’s singing climaxes with stirring tenor aria “Di quella pira l’orrendo foco.”

Baritone Samuel Thomas Holland shows himself capable of a rich warm tone in his singing of Conte di Luna. Portraying the character as more nefarious than is usually seen, Holland ensures the Count is the unsympathetic member of the love triangle between the Count, Leonora and Manrico.

Experienced mezzo-soprano Helen Hill establishes an ominous character as gypsy Azucena. Although her acting performance is affected by lack of direction, the role is an ideal fit for Hill, suiting her vocal prowess well.

Young bass Adam Jon acquits himself more than admirably in his featured moments, singing with a pure, unwavering tone and projecting a solid character.

The achievements of CitiOpera in this production of Il Trovatore are admirable indeed. The opportunity to see classic opera at very reasonable prices deserves to be supported by Melbourne’s legion of opera fans.

Il Trovatore plays again at Athenaeum Theatre, Melbourne 1 and 4 March 2017 before touring to Frankston Arts Centre and Wyndham Cultural Centre.

Photos: Robin Halls

Original Australian musical Ladies in Black retains its down to earth charm in this welcome national tour.

Sold out in Brisbane and Melbourne just over a year ago, Ladies in Black has moved from the subsidised realm to a fully-fledged tour. Around half of the cast members are new, and although this potentially seemed to be a drawback, the talent and flair of the new cast members shine through as they make the roles their own.

A personal and intimate story of a slice late 1950s Australian life, it is disappointing to note that the scale of the show is overwhelmed by the vast Regent Theatre auditorium. Two extra rows are added at the front, and the rear of the dress circle is not used, but the decision not to expand the cast and not to enlarge Gabriella Tylesova’s original designs to any noticeable extent is undermines the experience of watching the show. Alternatively, a more modest-sized theatre would have allowed the show to land with far more impact.

Carolyn Burns has written a zesty adaptation of Madeleine St John’s novel The Women in Black, capturing the pleasures of a bygone era while also deftly underlining the current relevance of the treatment of immigrants. One sequence that remains a missed opportunity is Magda’s description of her New Year’s Eve bash in her sung monologue “The Party.” While this choice means the delivery is in keeping with the same moment in the novel, it robs the audience of the chance to witness key romantic developments, breaking the theatrical rule “show, don’t tell.”

The go-to director for new Australian musicals, Simon Phillips keeps the action gliding along (on multiple revolves), earning each of the main characters a place in the audience’s hearts and gently conducting the beats of the uplifting subplots.

Legendary music talent Tim Finn has composed an enjoyably hummable score on his very first effort, which is no small feat. Highlights include the musicalisation of the busy women’s department store sales floor in “Sales Talk” and ”Pandemonium,” and the truly delightful charm songs “Bastard Song” and “I Just Kissed a Continental.” Some of the rhymes in Finn’s lyrics may be a little obvious, but this reflects the straightforward language of the characters. The most impressive aspect of the score may be the way that each of the songs sits in the natural vocal register of the performers, bringing the singing very close to natural vocal delivery.

David Walters’ lighting design looks quite glorious in this staging, filling the background with luscious colour and often making clever use of silhouettes.

Sarah Morrison returns to her debut leading role, taking Lesley Lisa on a gentle arc of self-discovery and increasing worldliness. As well as being a very lovely singer, a feature of Morrison’s work is the way she completely stays in character even while singing and moving in company numbers.

Carita Farrer Spencer retains the kindheartedness of Lisa’s mother Mrs Miles, balancing the character’s willing subservience with her gradual acceptance of change. Kate Cole has continued to find all sorts of levels and nuances to make exacting manager Miss Cartwright all the more entertaining.

Inestimable talent Bobby Fox remains an invaluable cast member, bring dashing romance to the role of charismatic new Australian Rudy. Greg Stone creates two distinct characters as Lisa’s old-fashioned father Mr Miles and Magda’s loving partner Stefan.

Madeleine Jones conveys the vulnerability of young wife Patty. Ellen Simpson underpins Fay’s life experience with an endearing vulnerability.

Fellow newcomers Trisha Noble and Natalie Gamsu bring a wealth of experience to their significant supporting roles. Noble’s pair of roles look, act and sound nothing alike; Mrs Crown is a sturdy suburban housewife and mother, while dear Miss Jacobs is a fragile woman with a melancholy secret. Gamsu brings palpable warmth to the exotic “continental” Magda, commanding the stage whenever she appears.

Music theatre fans with a penchant for late-1950s nostalgia are sure to enjoy Ladies in Black. Given the onslaught of overseas musicals that constantly fill local stages, music theatre lovers should embrace the opportunity to support a new work produced at such a high level.

Ladies in Black plays at Regent Theatre, Melbourne until 18 March 2017 before continuing its tour to Canberra.

Photos: #1, #4 Lisa Tomasetti; #2, #6 Jared Vethaak.

Independent Melbourne company StageArt begins 2017 with a confident, large-scale production of 2000 Broadway musical The Full Monty, capably demonstrating that they can fill the stage and auditorium of a much larger venue.

Transplanted from the Sheffield setting of the hit 1997 UK film, Americanised musical The Full Monty follows the exploits of a band of unemployed steel workers in Buffalo, NY who are driven to create their own strip show. In desperation, they plan to outdo The Chippendales by going “the full monty” at the climax of their routine.

Esteemed book writer Terrence McNally imbues the musical with comedy and warmth while also incorporating men’s issues such as depression, suicide and sexuality. Composer David Yazbek draws from a range of eclectic styles in his music, delivering lyrics that are generally stronger than his melodies. Ballads “Breeze Off The River” and “You Walk With Me” are quite gorgeous, and climactic number “Let It Go” is a terrific toe tapper. Yazbek’s cleverest touch is the two versions of “You Rule My World,” sung at night by a pair of husbands to each of their sleeping wives, then reversed in act two as the wives affirm their devotion to their husbands.

The steel city setting is cleverly referenced in Robbie Carmellotti’s set design, which utilises metres of gleaming metal to frame the action and represent abstract scenic elements. Going upstage, the frames become smaller, giving the sense of additional stage depth.

Lighting designer Maddie Seach makes terrific use of the gloss of these metal frames, reflecting a multitude of colours around the set. Seach adds a range of textured effects to help create different scenes in the story. The missing element, however, is sufficient light on the actors so as to allow the audience to easily see their faces at all times. While some early missed lighting cues will surely be tightened, some blackout cues are set too early to allow the final moment of impact to land before the next scene change. The overall picture created by the lighting is highly attractive, and the number of cues is exatrordinary.

Costume designer Jodi Hope keeps a keen eye on the appeal of the overall wardrobe picture. The working class status of the men is conveyed with plaid shirts in muted, complementary colours, while the women, whose characters here lead more exciting lives, are dressed in vivid primary colours.

Music director Nathan Firmin’s programming of keyboards makes the band of eight musicians sound even more extensive. Vocals, particularly harmonies, are strong, although perhaps a little more shading in expression would have brought out some more of the subtlety and humour in Yazbek’s lyrics. Instrumentals and vocals are mixed and amplified with reliable precision by sound designer Marcello Lo Ricco.

Choreographer Rhys Velasquez adds plenty of gently humour to the mix, making a very convincing, and entertaining, showing of the men’s initial inability to dance. Velasquez astutely ensures that choreography seen in rehearsal along the way is used in the men’s final routine. The choreography deftly scores a nice laugh in act two when the men cannot help but subconsciously think through their routine to the tune of a funeral hymn.

Director Drew Downing makes an auspicious directorial debut in this ambitious project. Energy is kept sky high, to which the opening night audience responded with appreciative energy of their own.

With the orchestra pit covered, it seems an odd choice to set so much of the show so far upstage, missing the chance to make more of a direct connection with the audience. Movie adaptations always have a large number of scenes, and scene changes are a little slow at this point, increasing the already long running time. Given that actors are moving the props and that full blackout cannot be achieved because of the onstage band, scene changes in full light may have allowed a smoother flow.

A key feature in Downing’s work is the terrific range of colourful characters he has drawn out of the large cast, leading to many entertaining incidental moments in addition to the main action.

Scott Mackenzie is very well suited to the lead role of Jerry, an affable but down on his luck guy who is nobly driven to care and provide for his son. Mackenzie sings the role with a natural, comfortable tone that is underpinned by the character’s relentless drive.

Already impressively wise beyond his years, young actor Alexander Glenk is well cast as Jerry’s son Nathan. The pair are well matched physically, and enjoy an easy chemistry. The tension surrounding Jerry’s access to Nathan leads to the most affecting part of the pathos.

Giancarlo Salamanca appears to have burnt too many kilojoules in dance rehearsal, and dons some padding to play good-natured schlub Dave. Montgomery Wilson creates an endearing character as sheltered young man Malcolm. Adam Perryman has an infectious confidence as well-hung slacker Ethan.

Wem Etuknwa keeps a sparkle in the eye of Noah, who sees the badge of token “big black man” as both an honour and a pressure. Darren Mort has a commanding physical presence that slightly outshines the meek character of hen-pecked Harold, yet he lands the humour of the character in his own experienced style.

For a show that is primarily about men, the female cast is especially good, at times outshining their male counterparts.

The clear standout is Barbara Hughes, who is hilarious as sassy showbiz veteran Jeanette. Hughes’ expert comic timing allows her to land every laugh, and she often has the audience waiting in keen anticipation to see what she will say or do next.

Sophie Weiss sweetly conveys the tenderness and vulnerability that differentiates Georgia from some of the more outspoken local women. Weiss is charged with opening the show on stage alone, a task she handles with instantly engaging good will.

Ana Mitsikas brings a lovely polish to Vicki, a woman ostensibly obsessed with the material goods her husband can provide. Lauren Edwards effectively portrays the affection Pam once felt for Jerry, as the character tries to move on with her life.

Special mention is to be made of ensemble member Courtney Glass, who scores many a laugh as lusty local broad Estelle.

A fun night at the theatre, The Full Monty is a solid addition to StageArt’s repertoire of Broadway shows that are rarely seen locally.

 The Full Monty plays at National Theatre, Melbourne until 19 March 2017.

Photos: Belinda Strodder

Victorian Opera is at its imaginatively creative best with this beautifully realised and gorgeously sung production of Respighi’s The Sleeping Beauty.

The three acts of Respighi’s 1922 opera fly by in a brisk eighty minutes of wondrous entertainment. Originally written for Vittorio Podrecca’s I Piccoli, The Sleeping Beauty is performed here with an absolutely charming set of puppets designed and constructed by Joe Blanck. From the dancing frogs to the frolicsome cat to the menacing spider, the appearance of each new puppet character brings an appreciative laugh of delight from the audience.

The high level of creative collaboration between all members of the production team is abundantly clear, with the singers and puppeteers evidently involved in the organic process of creating the staging as well. Along with fellow set designers from the company bluebottle, Blanck also contributed to the set design, which features canvases for shadow puppetry. Lighting designer Philip Lethlean also worked closely with the set designers, as lighting is embedded throughout the set, from warmly glowing platforms to a multitude of twinkling globes overhead.

The immersive design has the singers out of the pit and onto the stage, singing their roles alongside the puppeteers and even assisting with the puppetry at times. With the stage filled with singers, puppets and scenic and lighting elements, there is a world of details to absorb and enjoy at any one time. The overall effect is like watching a Tim Burton movie live on stage.

In a masterful touch from director Nancy Black, the framing aspect of the work is set in current time. The singers appear in neutral modern day clothing as they tell/listen to the story of the vulnerable Princess. This links the performance directly to the audience’s own experience of watching the opera, and allows full focus on the enchanting designs. The modern day aspect pays off brilliantly with the late appearance of Mister Dollar, an arrogant American man with a fuzzy blonde comb-over who woos the Duchess with his wealth and offers to buy Sleeping Beauty.

Musical preparation by conductor Phoebe Briggs and staff is first rate, with the rarely heard opera sounding entirely comfortable and familiar in the hands of these talented musicians and singers. Conducting a sizeable contingent of Orchestra Victoria, Briggs deftly keeps a light touch with the music, bringing out an impressive range of characteristic sounds and musical tributes, which Respighi has worked into his score and arrangements.

Moments of playful choreography, from Michelle Heaven, add further enjoyment to the performance.

Above all the wonderful design elements, Victorian Opera has assembled an excellent set of singers for the ensemble cast. Any opera patrons who are concerned that the focus is merely on puppetry should rest assured that this is a beautifully sung opera featuring lovely, instantly accessible music. Each of the singers has their chance to play a character or two, but the additional benefit for the audience is when the performers, accomplished soloists one and all, sing together as a chorus. There is a female chorus after the Princess has fallen into slumber that is the closest approximation to angels heard in a very long time.

It is difficult to mention cast highlights when the cast is so uniformly strong.

Of the six puppeteers, Vincent Crowley and Nadine Dimitrievitch stand out playing human puppets of the Prince and Princess. Casting off their masks, the pair falls in love, dances and gallops off into the sunset.

Zoe Drummond and Shakira Tsindos get the performance off to a terrific start with their gorgeous vocals as the Nightingale and the Cuckoo. Elizabeth Barrow impresses mightily with her effortless coloratura and high range as the kindly Blue Fairy.

Raphael Wong is in reliably strong form as the beleaguered King. As well singing the regal Queen, Sally Wilson has a delightful cameo as she voices the Cat. Liane Keegan contributes a contrasting pair of roles, singing the weary Old Lady and the vivacious Duchess. Director Black sets the singers the somewhat challenging task of performing with the essence of the puppet’s actions while keeping the main focus on the puppets themselves. Keegan is particularly successful in this regard.

Jacqueline Porter and Carlos E. Bárcenas deliver the pristine vocals of the Princess and Prince. Baritone Stephen Marsh makes a significant impression as the noble Woodcutter.

The Sleeping Beauty is superb entertainment for all ages. Attendance is highly recommended.

The Sleeping Beauty plays at Playhouse, Arts Centre Melbourne until 18 March 2017.

The program for The Sleeping Beauty can be read online.

Photos: Charlie Kinross

Let’s Give Three Cheers and One Cheer More for the hardy team at Melbourne Opera. This skillful, lovingly reverential production of H.M.S. Pinafore is the sparkling gem that Melbourne Gilbert and Sullivan lovers have been waiting years to see.

Such is the keen insight and finely honed talent of director/choreographer Robert Ray, the company should sign him up now to do a series of similar productions over the next few years. This is your grandmother’s H.M.S. Pinafore, gorgeously sung and played, and with the original comedy shining through in abundance.

Ray enjoys an intricate knowledge of the libretto and score, and sheds light on many a fine detail in the well-known operetta. His choreography incorporates natural, appropriate actions, and makes nifty use of neat formations on the good ship’s deck.

Class distinctions, crucial to the story, are telegraphed with accents, manners and customs are conveyed with clarity, and, best of all, comedy is played straight and true. Sir Joseph Porter, performed by the marvellous David Gould, is allowed a smattering of malapropisms and modern references, and these are all the funnier for his deliciously deadpan delivery.

As performed by an opera company, with the luxury of a strong and sizeable orchestra, Sullivan’s operatic allusions are heard in their full glory. Ray’s research has also uncovered some additions to the usual performance version, with a duet for the Captain and his daughter Josephine, “Reflect My Child,” heard for the first time in Australia.

Greg Hocking conducts a crisp, full and engaging performance of Sullivan’s score by the Melbourne Opera Orchestra. The combination of the orchestral music and the uniformly excellent singing, particularly from Melbourne Opera Chorus, makes for a superb sound.

Gregory Carroll’s set design conveys the naval location perfectly, whilst also adding a comic flavour in its irregularity. Lucy Birkinshaw’s lighting provides a festive blue sky, but little variation elsewhere throughout the operetta. Costumes, courtesy of Opera Australia, are as stunning as when seen in 2005. Upon arrival, the elegantly coiffured female chorus members look to be dressed for a cream and powder blue variation of “Ascot Gavotte.”

Standing out amongst the featured vocalists is young soprano Claire Lyon, who brings a lovely musical line to her singing. Lyon incorporates the bel canto references in Josephine’s arias with flair. It is a pleasure to appreciate her performance without any of the sort of indulgent directorial distractions that undermined her portrayal of Mabel in The Production Company’s The Pirates of Penzance.

Tenor Paul Biencourt has a pure approach to sailor Ralph Rackstraw’s love of a lass above his station, adding a touch of humour with his Northern English accent. Biencourt’s singing of the charming role is most pleasing.

David Rogers-Smith proves an effective straight comic foil as the well-intention Captain of the Pinafore, although this also means that Gould garners all the laughs as Sir Joseph (Andrew Lloyd) Porter. Gould’s rendition of cherished patter song “When I Was A Lad” is well served by singing it straight to the audience with little or no chorus movement. Gould’s couple of extra verses in show-stopping trio “Never Mind The Why And Wherefore” provide a well deserved encore for the number.

Andrea Creighton brings a vivacious presence to shadowy saleswoman Buttercup (pronouncing her own name here as Li’l Bu’ercup). Standing out in fiery red hair and dress, Creighton makes a strong connection with the audience and enjoys sparks of chemistry with her fellow performers. Jodie Debono steps out of the Melbourne Opera Chorus to shine as judgmental yet supportive Cousin Hebe.

Veteran baritone Roger Howell throws himself into the robustly physicalised role of Dick Deadeye, not shying from the surly and unpleasant aspects of the character to great effect. Baritone Finn Gilheany successfully makes the most of the featured role of the hearty Bosun.

Special mention goes to Melbourne Opera Chorus member Ronald Seidl who skillfully and accurately sings the bass counter melody in “A British Tar.”

H.M.S. Pinafore enjoyed a rousing reception on its pristine opening night. The all too brief season should be filled to capacity, most especially by Gilbert and Sullivan lovers who will be genuinely thrilled by this wonderful treatment.

H.M.S. Pinafore plays at Athenaeum Theatre, Melbourne until 18 March 2017, and will be performed at Robert Blackwood Hall, Monash University on 22 April 2017.

Photos: Robin Halls

Lyric Opera of Melbourne continues to enrich the local opera scene with eclectic selections that are beautifully produced. The Japanese Princess is a charming beginning to the company’s 2017 season.

Camille Saint-Saën’s one act opera was composed a decade or so before Gilbert and Sullivan’s The Mikado, and reflects a similar degree of western fascination with eastern exoticism. The featherlight story, which is more of a scenario, sees a young student drink absinthe in the hope of enjoying visions of Ming, the Japanese object of his affection. Happily for his fiancée, he comes to realise that she is his true love.

Saint-Saën’s music is the chief attraction in presenting this rarely heard work, and the rather exquisite score is performed with deft accuracy and instantly appealing beauty. Artistic director Pat Miller conducts 16 expertly prepared musicians, with the orchestra arranged comfortably at the foot the stage. While there is a little dialogue near the beginning, spoken in English, the piece soon flows on as a charming chamber opera for two voices.

The company’s masterstroke for this season has been the engagement of a Japanese director. Miki Oikawa brings an authentic angle to the staging, shaping the novelty of Saint-Saën’s composition so as to bring a grounded sense of realism to proceedings. The careful use of Japanese clothing is a feature of the staging, with Oikawa making the particularly clever choice of representing the portrait of the Japanese Princess with a humble hanging costume.

Oikawa has added a third role, played by Arisa Yura, which is billed as a dancer and also acts as a stage mechanical and a physicalisation of the student’s dream girl. Yura supports the singers graciously, allowing them to perform the central story without distraction.

Christina Logan Bell has contributed charming scenery, in which the suggestion of a dwelling is enhance with colourful, non-naturalistic representations of fields of flowers and a rippling stream. Consideration has been given to placement of projected surtitles, adding to the well-finished staging.

In addition to singing, tenor Robert Macfarlane and soprano Kimberley Colman are both required to speak, and each delivers pleasant vocal tone in speech. Their singing voices are both lovely, blending naturally with each other and with the instrumental music.

Macfarlane sets aside his boyish appearance aside to portray the angst and passion that the student feels.

Colman brings a sense of vulnerability to her role, having the audience on her side in the initially one-sided romance.

The Japanese Princess is presented in repertory with dual casts. Hew Wagner and Kate Macfarlane take the lead roles at alternate performances, allowing the presentation of an early show and a late show on each date of the season.

Spoilt for choice this week, Melbourne’s opera aficionados are encouraged to experience the simple pleasures of The Japanese Princess.

The Japanese Princess was reviewed on 15 March 2017 at Chapel off Chapel, where it plays until 18 March 2017.

Photos: Sarah Walker (note: photos show Robert Macfarlane and Kate Macfarlane.)

Presenting an expertly curated mixed program, The Australian Ballet begins it Melbourne 2017 season in superb form. Faster showcases the company with a well-matched trio of cutting edge contemporary works, two of which are Australian premieres while the third is a world premiere.

As with the recent, very successful tradition of staging thrilling triple bills of modern dance, the program for Faster gives a clear view of the terrific strength of the current company of dancers. To see eight of the ten Principal Artists perform on the one evening is a genuine thrill. This is further enhanced by the chance to enjoy unique combinations, such as Adam Bull and Chengwu Guo dancing together at the beginning of Infra.

Created by choreographer David Bintley and his creative team in anticipation of the 2012 London Olympics, Faster is a real crowd pleaser. The piece has even more scope to be popular here given Australian’s love of sport.

As with all grand sporting competitions, there is a sense of spectacle about Faster. Modern athletic outfits are a natural fit for dance costumes. Becs Andrews initially outfits the dancers for a range of sports, before moving the full company to colourful lycra running gear. To see the dancers in fluoro runners, with girls’ ponytails flicking about as they move, gives the work a very distinctive aesthetic.

There are some lovely moments of humour of as the audience recognises which events are being represented. Swimmers take their blocks, basketballers dribble and weave, and Ben Davis trots by as a very serious walker. After representing the high beam, Nathan Brook and Richard House lift gymnast Amber Scott overhead through a range of gracious aerial arcs.

There is a climactic moment midway through the piece, in which all competitors dancers return to the arena stage to create a dynamic collage in which each sport is clearly discernible. While it seems for a moment that the piece is over, the energy changes dramatically to move on to an abstract pas de deux in which Ako Kondo and Andrew Killian create a fascinating range of contortions.

The pace rises again as running teams of various compositions perform intricate fast rhythms, climaxing with the full company on stage for a spectacular marathon led by Brooke Lockett.

Lighting is an integral element of Peter Mumford’s stage design. Green laser lines create running lanes, and the rear panel lifts to reveal the rich blue of the pool.

The score features a variety of fresh and exciting music by Australian composer Matthew Hindson. Orchestra Victoria, conducted by Nicolette Fraillon, contributes blazing brass, fluttering flutes and zany xylophones.

Having gained experience through the Bodytorque program and with previous mainstage pieces, resident choreographer Tim Harbour has created a work of great vision and maturity with Squander and Glory. Inspired by French philosopher George Bataile’s essay The Accursed Share, Harbour reflects on the fleeting nature of the spending of energy.

Accompanied by flashes of lightning, the curtain rises to reveal a striking visual image. Clad in black Keto Dancewear, the dancers begin as a bold group facing the audience. Upstage, a full size mirror effectively doubles the number of dancers on show, and creates the fascinating effect of watching the front and back of dancers simultaneously. Designer Kelvin Ho has also crafted a large, angular, abstract three-dimensional sculpture, which hangs overhead.

Squander and Glory is accompanied by Michael Gordon’s Weather One, a work of unrelenting intensity written for strings. Harbour’s choreography matches this intensity, with a flow of dancers performing with sharply focused power. In this world premiere performance, stellar work is seen from the combinations of Vivienne Wong and Kevin Jackson, Leanne Stojmenov and Jarryd Madden, and Brett Chynoweth, Jill Ogai and Marcus Morelli.

Midway through the piece, the house lights rise to reflect the eager audience, before gradually dimming to bring focus back to the cast. To answer the lightning flashes of the opening, the piece concludes with the sound of distant rolling thunder as the company members lie on the stage, their energy well and truly spent. The presence of the mirror particularly pays off in this final moment. As the last dancer joins the others in a circular arrangement on the floor, an appreciative sigh of satisfaction can be heard across the auditorium.

A creative force who has achieved international renown, British choreographer Wayne McGregor brings his 2008 work Infra to The Australian Ballet.

A fascinating slow burn, the piece has a unique visual style. The significance of the term infra is that the dancers perform below a full width LCD screen. Designer Julian Opie has crafted an intriguing animated series of people walking across the screen. Even though the heads of the figures are just circles, the realism of their physical movement and presence is striking.

As with the overhead figures, the dancers below have a series of journeys and interactions. McGregor’s work has a dazzling complexity; using a shared choreographic vocabulary, the dancers all perform unique movements. At one point there are six couples across the stage, with each pair having been given their own choreography.

After building to something of a frenzy, both on screen and on stage, the piece focuses again on individuals and couples. Jackson delivers a solo of sinewy strength and great depth of expression. Wonderful pas de deux work is seen from Wong and Christopher Rodgers-Wilson and Amy Harris and Bull.

Max Richter’s score for Infra is more of a soundscape than a traditional composition, making its performance all the more impressive. Simon Thew leads Orchestra Victoria for this third chapter of the evening.

Lucy Carter’s lighting leaves an ominous inky blackness at the rear of the stage, allowing dancers to appear and disappear quite magically.

Lovers of modern dance are sure to be thrilled by the exciting and imaginative work on display in Faster. The success of the program reflects the ongoing success of The Australian Ballet itself, as the company continues to flourish under stable, creative leadership.

Faster plays at State Theatre, Arts Centre Melbourne until 27 March 2017. It plays at Joan Sutherland Theatre, Sydney 7 April to 26 April 2017.

Photos: Jeff Busby

Victorian Opera presented another authentic introductory opera experience with this highly accessible, sweetly amusing production of The Princess and the Pea.

The combination of a brisk forty minute running time, brightly coloured staging and excellent performances ensured that even the youngest audience members were actively engaged throughout the opera.

Director Libby Hill and team had the clever idea of setting the production in a television studio. The opera of The Princess and the Pea was being filmed for P.TV, and the cast and crew of the program scrambled to keep live action flowing on camera. Moments of slapstick comedy with the mattresses added to the enjoyment.

As with 2016’s Cinderella, the surtitles briefly described each scene rather than providing literal translations. To aid understanding even further, the television studio concept allowed for the use of a TV Presenter to act as a narrator. Between the surtitle descriptions and the introductory narration, the scenes are still sung in German, and that is where the imagination of the young viewers really takes flight as their minds fill in the story as they watch the action unfold on stage.

Given the short season of The Princess and the Pea (just three performances on a single day), the scale of production was extremely impressive. Designer Candice MacAllister used vivid colours to create a rich Technicolor world. The dotted pea motif on sets and costumes alike was a witty touch. A particularly clever touch with the costumes was the use of pale greys and browns for the television crew so that the neon tones of the Royals and Nobles on stage made a striking contrast.

Adding to the genuine opera experience was the presence of a 15-piece chamber orchestra, made up chiefly of musicians from Orchestra Victoria. Conductor Fabian Russell showed a deftly light touch with Ernst Toch’s music, bringing an appealing playfulness to the unfamiliar score. Toch contrasts the mainly light-hearted elements of the score with slower, lullaby-like music when the Princess is trying to fall asleep.

The luxurious casting featured a uniformly strong company of singers, each of whom was also able to add to the comic stylings of the piece. Jerzy Kozlowski and Kathryn Radcliffe played the stuffy King and Queen, with their son the Prince played by James Egglestone. Michael Lampard and Michael Petruccelli played TV crew who, in the chaos of live television, were drawn into the onstage performance.

Vital and versatile mezzo-soprano Dimity Shepherd was an absolute delight as the radiant TV Presenter, projecting an engagingly animated manner when she was drawn into the mattress action.

Young soprano Olivia Cranwell was perfectly cast as the Princess, singing the role beautifully and maintaining an adorable presence on stage.

Miss Six, my theatre partner for the day, laughed at the physical comedy and followed the traditional story with ease. At the final curtain she was disappointed that it was all over so soon.

The Princess and the Pea played three performances at Playhouse, Arts Centre Melbourne on Saturday 25 March 2017 (reviewed at 2pm).

The program for The Princess and the Pea can be read online.

Photos: Charlie Kinross

New Broadway musical In Transit is doubly unique, winning points for both its originality and for being an entirely performed a cappella.

It is a time of extremes on Broadway. Sunset Boulevard boasts the largest orchestra ever assembled for a Broadway musical, while in In Transit there is not a single instrumentalist to be heard. The musicality of In Transit is, however, in very safe hands, with vocal arrangements by Deke Sharon, who performed the same duties for Pitch Perfect 1 and 2.

Working without a source material, the creation of the musical from scratch took a team of four talented composers. Kristen Anderson-Lopez (of Frozen fame), James-Allen Ford, Russ Kaplan and Sara Wordsworth are each credited with writing the book, music and lyrics for In Transit, giving the musical a slick integration of story and songs.

Ostensibly a comedy about riding the subway in New York, the show is more substantial than the vibe that this concept suggests. The subway is a microcosm of society, and with statistics suggesting that New Yorkers spend a full month of each year in transit, it makes sense that a decent slice of life takes place on the subway.

Apart from the thrill of hearing such beautiful singing, the show succeeds because of the combination of writing, direction and performance that has created a set of authentic, appealing characters experiencing identifiable and involving situations. Comic moments are dotted throughout the show, each bringing good-natured groans as the audience easily relates to each scenario. The writing avoids schmaltz by sustaining bittersweet threads of unresolved dreams and inevitable disappointments. If the interwoven stories do not quite come to complete conclusions, it is because this a musical about “Getting There.”

Award winning director/choreographer Kathleen Marshall makes the whole show dance in a surging, pulsing flow of constant movement. Marshall matches the variety in the music with a range of choreographic styles. The almost nonstop singing/acting/dancing from the company of eleven is extraordinary, much as they all make it look quite effortless.

Donyale Wherle’s scenic design features a hyper-realistic subway station, albeit one with many more embedded lights that the real thing. Great use is made of a central travelator, which not only delivers cast and props but also simulates the range of motion that is central to the concept of the show.

No place for divas, the lead cast each has their time in the spotlight but also performs ongoing backup vocals for each other’s scenes.

Chesney Snow gives an incredible lead performance as subway station performance artist Boxman, contributing an amazing percussive accompaniment to the songs.

Telly Leung and Justin Guarini achieve sugar-free sweetness as engaged couple Steven and Trent. Free to legally marry, they still face constraints from Trent’s Christian Texan Momma.

Trent’s client Jane flies from her to temp job to auditions clings to her dream of a Broadway career. Jane’s insecurities are amplified when Nate appears to have given her a fake phone number, but his money woes are really the root of the misunderstanding. Margo Siebert and James Snyder play these roles with a neat balance of freshness and weariness, demonstrating that Broadway protagonists can be adults not just starry-eyed kids.

Despite having the requisite fitness for the marathon aspect, Erin Mackey brings out the almost crippling insecurities of Ali, sister of Nate, who still pines for her ex-partner Dave.

Moya Angela creates a range of distinct characters, jumping from icy Momma to Jane’s kindly boss Ms Williams to weary station attendant Althea. Angela brings warmth to each role, and sings with stirring power.

Although In Transit borders on being an off-Broadway show at Broadway prices, it is an engaging, accessible musical. The 100 minutes of the one-act show fly by at the pace of an express subway train at a local stop.

In Transit was reviewed 3pm Sunday 2 April 2017 at Circle in the Square, New York.

Photos: Joan Marcus

Reuniting many of the high wattage talents behind Matilda, new musical Groundhog Day is a slickly produced, crowd-pleasing show in the best Broadway tradition.

Multi-talented Australian writer/performer Tim Minchin unveiled his seemingly instant talent for music theatre composition with the instantly hummable, sneakily subversive music and lyrics for Matilda. Arriving in reasonably prompt succession, Minchin’s score for Groundhog Day shows an even greater coherency, confidence and sophistication. On first listen, it may be missing some of the breakout stand-alone songs of Matilda, but in providing recurring motifs simultaneously with musical progression, Minchin has done an excellent job.

Minchin’s innate knowledge of the genre is again on display in Groundhog Day. Just as he inverted the form of the charm song with “Loud” and “Telly” for Matilda’s repulsive parents, here Minchin boldly reverses the traditional opening I wish song, allowing his chief protagonist to profess a dream that the audience already knows he will not achieve. Vain weather man Phil Connors, sings at length of his desire to quickly leave “Small Town, USA,” which anyone with even a vague knowledge of the 1993 film knows will not be happening.

Groundhog Day is one of those productions where it is very clear that the entire creative team has worked together in close collaboration. This cohesive approach seems to be common whenever director Matthew Warchus is at the helm. As the show unfolds, musical numbers intertwine with book scenes, allowing sung and spoken word to merge seamlessly with choreography, which involves not only the actors but also the fluid movement of scenic elements, which are alternately highlighted and hidden by lighting.

Anyone who had the good fortune to see Warchus’ underappreciated 2002 West End musical Our House will vividly remember the way Warchus switched between parallel threads by having lead character Joe magically jump from “good” (in white) to “bad” (in black). Similar tricks are used to great effect here, as Phil finds himself back in bed the next morning each day no matter what scene he has just completed on stage.

Designer Rob Howell frames the stage with rows of miniature houses, A cinematic flow is achieved with concentric revolves. Howell’s signature piece for the show is a stunning collage of rectangular screens against the swirl of pressure bars on a weather map. This constitutes the glossy show curtain that greets the audience with multiple images of weatherman Phil in action, and is seen again in new incarnations for each bar and restaurant scene in the show.

Hugh Vanstone not only lights the windows of the tiny houses beautifully, but also adds striking effects such as swirling snow and festive fireworks.

Danny Rubin, co-writer of the movie, has adapted the work for the stage, clearly working closely with Minchin to deepen the characters and to create an involving dramatic arc. Phil moves from disbelief to incredulity to uninhibited joy to suicidal depression to noble sensitivity, taking the audience with him at every step.

A massive part of the success of Phil’s journey is the star-making lead performance of Andy Karl. Beginning as a genuinely unlikeable guy, Karl makes Phil’s redemption so gradual and subtle that it is as believable as it is involving.

As Phil’s eventual love interest Rita, Barrett Doss gives a breakout performance, singing superbly and maintaining a charming, natural presence in the role.

Each member of the large company has their chance to shine, bringing the quirky townsfolk to life with memorable impact.

Groundhog Day enjoyed a successful premiere season last year at London’s Old Vic Theatre. Although Broadway tends not to favour imported shows, the American flavour of may help it to last the distance. Hopefully the new musical will be a big enough hit to allow it to play Australia in the near future.

Groundhog Day was reviewed 8pm Monday 3 April 2017 at August Wilson Theatre, New York.

Photos; Joan Marcus

Gorgeous music and impeccable design combine to tell a captivating story in the long awaited stage adaption of Anastasia.

**check back later for images from the Broadway production**

Following the Disney model of the day by including five or so songs, the 1997 Fox animated movie Anastasia has long held a special place in the heart of fans who made it a worldwide hit. Music theatre fans had extra reason to enjoy the songs, given that they were by Lynn Ahrens (lyrics) and Stephen Flaherty (music) whose Broadway shows had included Once On This Island and My Favorite Year, and who went on to write Ragtime (an all time favourite of Man in Chair), Seussical and many more.

The good news is that Ahrens and Flaherty are in peak form here, polishing their initial movie compositions and expanding their score to a full length Broadway musical. The show is filled with soaring ballads that are destined to join the ranks of the style of popular cover standards and audition songs previously provided by Les Misérables and Wicked. Anya’s “In My Dreams” and “Crossing A Bridge,” Dmitry’s “My Petersburg” and “Everything To Win,” and Gleb’s “Still” all fit into this category.

The movie character of Sophie is reimagined as lady in waiting Lily, and Sophie’s song “Paris Holds The Key (To Your Heart)” is repurposed for the chorus to open act two. Enduring movie favourite “Journey to the Past” provides a stirring close to act one. In one particularly sophisticated musical sequence, “Quartet at the Ballet,” the lead characters reveal their inner thoughts while watching Swan Lake, the lovely waltz melody of “Once Upon A December” weaving in and out of Tchaikovsky’s ballet score.

Another significant key to the show’s success is the new book by masterful playwright Terrence McNally, a frequent collaborator of Ahrens and Flaherty. Gone is the Disney-style villain Rasputin and the Disney-style cute animal character of Bartok the bat. McNally has raised the material well above children’s fare, crafting an absorbing romantic mystery.

Saccharine pitfalls are sidestepped by giving leading man Dmitry an immoral angle in his plan to gain the reward for the return of missing princess Anastasia. Anya is innocent in the plan, given the amnesia she has experienced. As someone who had impersonated a count in the old regime, Dmitry’s sidekick Vlad is on hand to help coach Anya to her place as the Princess. New character Gleb adds tension with a Javert-like mission to expose the truth of the trio’s scheme.

Director Darko Tresnjak (A Gentleman’s Guide to Love and Murder) keeps storytelling brisk and clear, and ensures that characters retain a well-rounded edge of intrigue.

Scenic design (Alexander Dodge) is both simple and technologically savvy. A pair of curved walls with high arched windows stay in place all night, with a cavalcade of stunning scenes created by LCD screens in the four windows and a full sized screen at the rear of the stage. The animated scenery creates setting with photo-realism and three-dimensional depth, finally providing the wow factor that was portended when The Woman in White used this scenic technique in 2004.

Costumes (Linda Cho) are absolutely stunning. In the prologue, the Romanov family sparkles in their white finery. Much of act one is people with peasants in shade of brown and grey before giving way to the splendours of act two. The arrival of the central trio (and Gleb) in Paris brings a fresh new look. Russian ex-patriots party at Club Neva wearing muted jewel tones, and attend the ballet in even more decadent finery. Anastasia’s sapphire gown for the ballet and her ruby ensemble for the finale are both spectacular.

The Broadway premiere is wisely cast with a balance of youth and experience. Charming fresh-faced leads Christy Altomare and Derek Klenya are set for stardom in the breakout lead roles of Anya and Dmitry.

Stage veteran Mary-Beth is grace personified as the Dowager Empress. Powerhouse presence Ramin Karmiloo is luxury casting as Gleb, utilising his magnificent, effortless baritone to great effect. John Bolton dances impressively well for a comic character actor.

Providing a boost of energy in act two is the arrival of Lily, played with characteristic comic panache by international music theatre star Caroline O’Connor. Petite dancer O’Connor is tossed about like a doll in company number “Land of Yesterday,” before delivering delightful duet “The Countess and the Common Man” with well-matched partner Bolton.

There is every reason to be confident that Anastasia will be a Broadway smash hit, with subsequent world seasons to follow.

Anastasia was reviewed 8pm Tuesday 4 April 2017 at Imperial Theatre, New York. The official opening night is 24 April 2017.

Photos: Joan Marcus (note: 2016 season in Hartford)

Contrasting many of the mega-budget, high-tech new musicals, the simple staging of Come From Away wins hearts with its soaring humanity.

The presence of Come From Away of Broadway is an example of quality material rising all the way to the top. The new musical was crafted by married Canadian writing team Irene Sankoff and David Hein, based on hundreds of hours of interviews with residents of Newfoundland and the thousands of passengers whose planes were diverted there on September 11 2001.

While the residents of Gander and its surrounding towns unflinchingly galvanise to action, the stranded passengers who have come from away are scared and disoriented. As their fears and urgent needs are met with unfailing kindness and generosity, the passengers cannot help but let down their guards and embrace the unique experience.

Although the premise may sound syrupy and sentimental, the show succeeds due to the razor sharp writing of Sankoff and Hein, who keep the pace lightning fast and have whittled down the collected stories to illuminate the experiences of a set of beguiling and involving characters. The events in New York and Washington on September 11 are treated as assumed knowledge for the audience, keeping the focus on the positive action occurring miles away in Newfoundland.

Sankoff and Hein’s songs are immediately accessible, performed with infectious toe-tapping energy. The music has a distinctive bluegrass sound. The band, performing on stage, including rare instruments such as bodhran, bouzouki and uillean pipes. The centerpiece of the score is “Prayer,” a gorgeous sequence in which the prayers of people of various faiths mix as countermelodies and harmonies.

Director Christopher Ashley oversees the electric pace of proceedings, grounding the action with a natural sense of reality. The show is a gift to its twelve cast members, giving them all multiple roles to play. With the help of minor costume changes (designed by Toni-Leslie James) and hundreds of pinpoint lighting cues (Howell Brinkley), Ashley ensures that the ever-changing line up of characters is crystal clear.

The term “ensemble cast” is often used, but in this case it is totally appropriate. Even in the curtain calls, the cast just bows together, with no particular actor singled out. Character arcs that I responded positively towards included the warmth of primary school teacher Beulah (Astrid van Wieren), the unwinding tension of uptight African American Bob (Rodney Hicks) and the burgeoning adult romance between Nick (Lee MacDougall) and Diane (Sharon Wheatley).

The friendships that form and are sustained, and the generosity back to the people of Newfoundland that is shown by the 7000 stranded passengers when they return home are truly inspiring. The reflections and reunions at the point of the ten-year anniversary would leave only the hardest heart unmoved.

Come From Away is unlike other Broadway musicals, and its point of difference is to be celebrated. The 100-minute show leaves the audience on a buzzy high of good will. The universal message and straight forward staging mean that the show is sure to be produced around the world.

Come from Away was reviewed 2pm Wednesday 5 April 2017 at Schoenfeld Theatre, New York.

Photos: Matthew Murphy

Modern, fresh and wholly original, Dear Evan Hansen hits the zeitgeist of the current dangers of loneliness despite the perpetual availability of digital connections and the constant barrage of digital communication.

Fulfilling an assignment from his therapist, Evan writes a “Dear Evan Hansen” letter that falls into the wrong hands. An ensuing tragedy leads to a spiraling web of unintentional lies. For a time, the benefits of the compounding deceit seem to outweigh the morals that are being compromised, but the truth must eventually come out.

Where many new musicals focus on production values, Dear Evan Hansen centres instead on emotional values. Success derived from the finely honed exploration of human frailty is ultimately worth much more than dozens of flashing lights and pretty costumes. Creation of the intricately psychological show without any source material is a highly impressive achievement, and it is no surprise that book writer Steven Levenson’s past work is as a playwright.

Composers du jour Benj Pasek and Justin Paul have clearly worked closely with Levenson to craft the deftly integrated musical. The truly beautiful songs raise the intensity at key moments in scenes, also serving to air the characters’ inner voices. The troubled Evan connects instantly with the audience with the searing I wish song “Waving Through A Window,” which voices Evan’s craving for authentic connections as he shares his crippling fear of being invisible. In a clever subsequent moment, pretty, popular girl Zoe Murphy, the object of Evan’s affection, is heard singing a brief reprise of the song, indicating that although Evan feels alone in his torment, other students also experience the same insecurities. Evan’s fear of isolation is further explored in the songs “Disappear” and “You Will Be Found.”

Well experienced in directing rock-flavoured musicals, Michael Greif knows exactly what to do with the songs. Whereas the book scenes often have a straightforward feel, Greif uses a heightened, non-naturalistic style for the songs, juxtaposing characters on stage in ways that would not work in a play. Greif and the authors have provided plenty of humour, especially as the story opens.

The relatively simple scenic design (David Korins) features a range of floating panels on which projected images (Peter Nigrini) reflect the inexorable presence of social media updates in our lives. The images are fragmented and slightly out of focus so that they are not distracting from the main action. A powerful use of the setting comes in act two when Evan’s letter is revealed and goes viral: the characters walk about the stage looking at the panels as if they are billboards, referencing the public nature of social media posts.

The tight cast of eight performers has a pleasing mix of youth and experience, and all are highly convincing in their roles. The show is anchored, however, by the extraordinary lead performance of Ben Platt as Evan. A walking bundle of ticks and raw nerves. Platt’s Evans inspires sympathy and affection. Platt has improved in the role since the 2016 off-Broadway season, now able to speak at a rate of knots as Evan’s thought spew forth in an often unfiltered stream of consciousness.

As the show progresses and Evan’s good intentioned deception takes it toll on him physically as well as emotionally, it becomes increasingly clear that it is not Platt’s talent as an actor at work but his unwavering courage in allowing himself to seen in such a debilitating state of torment and grief that is underpinning the compelling quality of his performance.

On top of all of this, Platt has a superbly controlled singing voice. Platt is a lock for the Best Actor Tony Award this year. All we have to hope for now is that we do not lose him from the stage to the world of motion pictures.

In another courageous performance, Rachel Bay Jones plays Evan’s well-intentioned but struggling mother Heidi Hansen. Indicating Heidi’s lack of maturity with a high-pitched voice and girlish long blonde hair, Jones makes Heidi’s flaws and mistakes believable. Raising Evan alone since he was seven, Heidi has just as much contributed to Evan’s insecurities, with her smothering, mother as friend style, as she has tried to cure him.

Jones is at the height of her powers when Heidi’s remaining self-esteem is crushed when she discovers Evan’s secret second life. Platt is also superb in this tense climactic scene, slowly, wordlessly physically crumpling as the parents talk. The significance of the role of Heidi is indicated by the fact that she has the final ballad, although this serves partly to allow the audience to recover from Evan’s excruciating 11 o’clock number “Words Fail.” In short, the writing and Jones’ performance steers the role well clear of pat simplicity.

Jennifer Laura Thompson brings an air of vacuous polish to unfulfilled housewife Cynthia Murphy, contrasting the role in a myriad of ways from working single mother Heidi. Michael Park, replacing off-Broadway’s John Dossett, carries Larry Murphy’s stoicism successfully on his broad shoulders and square jaw.

Laura Dreyfuss is completely convincing as Cynthia and Larry’s daughter Zoe, capturing the insecurity that even a pretty teenaged girl inevitably experiences. Given the scruffy, scowling countenance of his angry, paranoid character Connor Murphy, Mike Faist has a surprisingly beautiful singing voice.

In relief of the ever-intensifying drama, Will Roland provides much-needed levity as Evan’s “friend” Jared, who delights in winding Evan up even though he is also assisting him. Kristolyn Lloyd captures the subtle humour in the self-serving goodness of fellow friendless nerd Alana Beck.

Dear Evan Hansen is an absolute must-see musical for all lovers of innovative musical theatre. If you are able to buy a ticket, be sure to pack a tissue or three as well.

Dear Evan Hansen was reviewed 8pm Wednesday 5 April 2017 at Music Box Theatre, New York.

Photos: Matthew Murphy

Filling the gap for New York baby boomers left by the closure of mega hit Jersey Boys, ambitious new musical A Bronx Tale has entertaining moments but struggles to overcome the unusual mixture of material and form. Singing and dancing wiseguys may be fine in a musical comedy, but not so much in a tragic drama.

In bringing Chazz Palminteri’s life reminiscences to the musical stage, the production has no shortage of blue chip creative talents involved. Of premium value is the infectious score by Alan Menken (Music) and Glenn Slater (Lyrics). The main factor helping the gritty characters “sing” is that the music sounds exactly like the sort of tunes and styles the characters would have been listening to in 1960s New York. This aspect, in turn, eases the baby boomer audience into the show on a sentimental wave of nostalgia.

Having already adapted the one-man stage show of his life story into a 1993 movie, Palminteri has now written the book for the musical. Robert de Niro, who directed the movie, has teamed with veteran Broadway director Jerry Zaks to direct the stage musical.

Zaks’ Broadway influence is apparent immediately, with the musical linking itself directly to Jersey Boys by opening with four guys singing under a lamppost as the story is narrated directly to the audience by one of the characters. The show later pays homage to Guys and Dolls when a set of guys such as JoJo the Whale and Frankie Coffeecake shoot craps (above ground, in this instance).

Sergio Trujillo’s choreography is reliably exciting, especially in the opening number “Belmont Avenue.” The show pulls of a neat trick by playing to the audience’s long-established assumptions that the opening number features the full cast. Lead Italian-American character Calogero later falls for an African-American girl, and it turns out that there are another half dozen or so cast members who have not been seen yet. Trujillo gives these characters a different choreographic vocabulary when they open act two in their neighbourhood, “Webster Avenue.”

Another aspect that lands strongly is the first showing of violence. After the entertaining opening number has lulled the audience into feeling they are at a regular Broadway musical, shots are fired and a man is killed. The first gunshot drew some audible gasps from the audience.

Moving forward, the dramatic violence and musical theatre do not sit well together, each diluting the other’s impact and success. All of the action in act two is telescoped into such a rapid sequence of events that the tragedy has little chance to affect the audience. Still, there are some stirring moments, such as act one closer “These Streets” and stirring 11 o’clock anthem “In A World Like This.”

Multi-award winning costume designer William Ivey Long works totally against type in creating the down to earth costumes, with not a feather, sequin or magical fast change to be seen. Beowulf Boritt’s scenic design is a striking mix of realistic two-story brownstone units and illustrated backdrops, all rendered in red and black.

Bobby Conte Thornton gives a compelling breakout performance as young Bronx resident Calogero, who is torn between his allegiances to his father (Richard H. Blake) and local mob kingpin Sonny (Nick Cordero). Established star Cordero is dependably excellent, although the strength of his godfather-like character is somewhat hobbled by his big act two ballad “One of the Great Ones,” in which he mawkishly advises young protégé Calogero about romance.

Despite their romance going nowhere, Ariana DeBose is absolutely lovely as Calogero’s love interest Jane. Child actor Hudson Loverro has pluck and personality to spare as Young Calogero, his lively energy helping to lift the early scenes of act one.

It is hard to imagine A Bronx Tale playing London or Australia. Its score, however, is sure to be interest to musical theater fans the world over.

A Bronx Tale was reviewed 7pm Thursday 6 April 2017 at Longacre Theatre, New York.

Photos: Joan Marcus

It’s so nice to have Mrs Dolly Levi back where she belongs, bringing infinite joy to capacity audiences on Broadway. At one time Broadway’s longest running musical, Hello, Dolly! shines again in this joyous, lovingly crafted celebration of the magic of musical theatre.

**Check back later for a full set of images from the new Broadway production**

Premiering in 1964 at the tail end of the Golden Age of Broadway, Hello, Dolly! benefitted immensely from the finely honed experience of its original creative team. The musical won a whopping ten Tony Awards and ran for seven years, moving through a cavalcade of grand divas in the leading role.

Jerry Herman’s hit parade of a score remains steadfast in the public consciousness, for example, featuring recently in popular Pixar movie Wall-E.

Michael Stewart’s book is an absolute miracle of economic storytelling and concise character development. Little more than a day passes and yet the lives of the ten or so lead characters are all changed, for the better, forever.

Recognising that the time was right for a revival of this beloved musical, and that the ideal leading lady was available, producer Scott Rudin (along with his many, many associates) has overseen a sparkling new staging that pays every respect to the original production whilst also taking advantage of the best current theatrical practice.

The duties of master showman Gower Champion, original director/choreographer, are divided between two men this time. Veteran director Jerry Zaks finds an abundance of humour in the material, balancing this with moments of tender pathos.

Zaks is aided in this duality by the superb performance of the divine Miss Bette Midler. Even while still in previews, Midler has the character in her bones, slaying the audience with radiantly sunny charm, wonderful singing and effortless dancing. From her first entrance, Midler brings down the house again and again, earning a mid-show standing ovation for “Hello, Dolly!”. Best of all, Midler can flip on a dime from broad humour to heartfelt sincerity, nailing each and every emotional beat of the tender tale.

Warren Carlyle’s choreography pays respect to the original, while benefitting from the highly trained skills of a chorus full of triple threats. New dance arrangements (David Chase) include “The Contest” and a short dance piece just before the bows, providing moments of freshness. The famous cakewalk in the title number is included, and “The Waiters’ Gallop” is as inventively comic as it is spectacular.

Ignoring the changes made for the movie, the song list is the same as the original, apart from the reinstatement of cut song “Penny in my Pocket.” This gruff charm song is sung by well known half-a-millionaire Horace Vandergelder at the top of act two as he explains the origins of his fortune.

A lush orchestra of 22 musicians sounds superb, especially given the noticeably excellent sound design of the production (Scott Lehrer).

In what must have been a massive task, scenic and costume design are both by one man, Santo Loquasto. In an interesting contrast with the current Australian production of My Fair Lady, Loquasto pays homage to the original designs of Oliver Smith, but still uses modern practices to drive the scene changes. The scenery is an interesting mix of hand drawn period illustrations, painted in pale water colours, and large scale constructed sets, such as the multi-level Hay & Feed store and Irene Molloy’s delicate lavender and pink hat shop.

Chorus costumes are incredibly detailed, a highlight being the rainbow of delicious candy colours for choice company number “Put On Your Sunday Clothes.”

Dolly begins the show in dark blue with dark green highlights, before moving to turquoise brocade with black trim in Irene’s store. She wears the full red dress and feathers, matching the red stairs, for the Harmonia Gardens sequence, before changing to a high waisted royal blue skirt and white blouse for “So Long Dearie” after the court case. She finishes the show in an elaborate mauve outfit, before joining the entire cast in creamy white for the curtain calls.

David Hyde Pierce wears Horace’s curmudgeonly disposition as a badge of honour for the character. Given his propensity for fey roles, Hyde Pierce is impressively grounded, adding some moustache wiggling to his amusing range of expressions.

The four secondary lead roles are shared appropriately between experienced players and new talents. Lovely singer Kate Baldwin plays Irene as a rather enthusiastic coquette. Broadway star Gavin Creel is entirely charming as sincere chief clerk Cornelius Hackl.

Beanie Feldstein, who bears an uncanny resemblance to her famous movie star older brother, is very funny as she makes her Broadway debut as giggling hat shop assistant Minnie Fay. Newcomer Taylor Trensch is convincingly fresh and unspoiled as seventeen-year-old shop clerk Barnaby Tucker.

Will Burton gets across little of the character of Ambrose Kemper, apart from the fact Ambrose is tall. Melanie Moore fares slightly better as Ermengarde; at least she has the anxious young woman’s incessant wailing to contribute.

Jennifer Simard, unrecognisable from her acclaimed role in last season’s Disaster!, is underutilised in the cameo role of Ernestina Money.

Patient advance ticket buying is wonderfully rewarded with Hello, Dolly!. If you plan to visit Broadway in the coming year, best to book sooner than not at all.

Hello, Dolly! was reviewed 8pm Friday 7 April 2017 at Shubert Theatre, New York. Official opening night is April 20 2017.

Photo: Julieta Cervantes

A surprise gem, Bandstand transcends its simple premise to deliver a compelling story with terrific music and performance energy to spare.

**Check back later for images of the Broadway production on stage**

A returned WWII serviceman forms a swing band to win a national competition, finding love along the way with his best friend’s widow. Although this description gives the sense that the ensuing show may be flat, corny and predictable, nothing could be further from the truth.

Book (and lyric) writers Rob Taylor and Richard Oberbacker have laced the story with ongoing tension and high stakes drama, creating an engaging set of characters and a gripping storyline.

Such is the audience’s involvement in the show and attachment to the characters, climactic song “Welcome Home” receives an extended standing ovation.

Oberbacker also wrote the instantly enjoyable, toe-tapping music, which is crucial to the show given the focus on songwriting and forming a band. While the actors play their character’s instruments on stage, there is also a pit band. With the focus on brass and woodwind, the music has an exciting “live” sound that matches the energy emanating from the cast’s passionately enthusiastic performances.

The quality of the writing is well and truly matched by the thrilling direction and choreography of Andy Blankenbuehler, Tony Award winner for choreography of In The Heights and Hamilton. While Bandstand is a more traditional book musical than Hamilton, Blankenbuehler has nonetheless imbued the show with relentless energy, with dancing not just in every scene but also in every scene change. As well providing sensational choreography for individual songs, such as act one company swing number “You Deserve It,” Blankenbuehler excels at creating sophisticated montages, abandoning the spoken word for dance in much the same way Agnes de Mille did in the 1940s.

The show is blessed with two outstanding lead performers, both of whom are proven talents, if not yet household names.

Corey Cott is magnetic as alpha male band leader Donny Novitski, who drives the action with unflagging determination. The ruthless manifestation of this drive gives Donny an edge over and above a simple Broadway hero. A brief prologue shows Donny’s experience in the war, a scene that returns periodically to haunt him. Faced with a major setback near the end of act one, Donny’s repressed PTSD bubbles to the surface and he suffers a meltdown, The experiences of all the ex-military characters have a resonance today, of course, for current returned servicemen and women.

Laura Osnes brings her gorgeous voice and raw vulnerability to the role of widow, and incredible singer, Julia Trojan. Osnes and Cott enjoy great chemistry, and their portrayal of the inevitable romance benefits greatly from the very slow burn of the relationship.

Each of the band members has a distinctive character, all shaped by their wartime experiences and the period. Alex Bender’s Nick (trumpet) feels diminished to be only working as an instrumental teacher. Joe Carroll conveys the slow caution of injured drummer Johnny. James Nathan Hopkins plays Jimmy (saxophone) who has immersed himself in studies of law. Geoff Packard amuses with the obsessive-compulsive tendencies of Wayne (trombone). At this performance, Matt Cusack played high-functioning alcoholic Davy (bass).

Cherished Broadway character actress Beth Leavel reliably brings delightful humour to the role of Mrs June Adams, Julia’s mother.

There are flashier, more eye-catching new shows and revivals this season, but Bandstand is very highly recommended as an exciting piece of musical theatre.

Bandstand was reviewed 2pm Saturday 8 April 2017 at Jacobs Theatre, New York. Official opening night is 26 April 2017.