Oompa loompa doompety doo

I’ve got a Broadway puzzle for you

Oompa loompa doompety dee

If you are wise you’ll listen to me

What do you get when you cut all the sets

Charging as much as an opera gets

What are you at, getting boring and flat

What do you think will come of that

I don’t like the look of it

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

Broadway producers have taken blue chip title Charlie and the Chocolate Factory, which had mixed reviews in London, and diminished it to the point where it almost seems to be some sort of elaborate practical joke. Not that customers who are paying $300 for preview tickets are laughing.

Housed at London’s prestigious Theatre Royal Drury lane, the 2013 musical Charlie and the Chocolate Factory actually enjoyed a healthy run of three years and seven months. Before it opened, hopes looked high for the family favourite, with Hairspray composers Marc Shaiman and Scott Wittman on hand to write the songs, and Sam Mendes to direct. Looking back now, Mark Thompson’s designs for London were a highly creative, sumptuous visual feast.

Thompson remains on board as scenic (and costume) designer, but appears to have had the set construction budget drastically slashed. Looking at it cynically, there is a possibility that it was more important to be able to easily take the production on tour.

Act one is framed by concentric purple arches, with a small elaborate set piece for the Bucket house and for the local candy store. To give the actor playing Willy Wonka a role in act one, he plays the kindly candy store proprietor, opening the show with movie classic “The Candy Man.”

Act two is where the mind boggling scenic budget cuts really have an impact. The act takes place within three plain blue walls. A small set is wheeled on to represent what should be the show’s most extravagant set – Wonka’s candy garden and chocolate river. The set is only big enough for one person to squeeze onto at a time. Going on, the gum machine is tiny, the squirrels just have a single simple conveyor belt for their nuts and the television room also has one small central set piece.

At one point, Wonka leads the families through a dangerous maze, represented by a couple of lights on the floor. Wonka himself may deny that the journey through maze is mime, but mime is what it is, and junior high school mime at best.

The production here includes a very safe and sedate ride on the Great Glass Elevator. In London, the elevator went off the stage and up into the auditorium, leaving a magical final impression.

These reductions in scale of production may have been more palatable if the musical itself was more appealing. Act one is now streamlined to one hour, and still ends with the ticket holders entering the factory. Towards the end of the act, Mrs Bucket sings “If Your Father Were Here,” which should be sweet but is really rather dreary. The songs introducing the other children in act one are quite fun, but there is not a memorable new song in the show.

Speaking of those four other “children,” they are being played here by young adults. Charlie is still played by a boy (at this performance, the plucky and rather adorable Jake Ryan Flynn) but the other four children are played by adults. Given the success of current Broadway hit School of Rock, and the fact that young audiences like to see fellow children on stage, this ultimately seems an odd casting choice.

Broadway director Jack O’Brien, working with book writer David Greig, has set the production in the present, which works perfectly well. Joshua Bergasse has provided some snappy choreography, particularly for the diminutive Oompa Loompas.

Popular Broadway star Christian Borle brings plenty of amusing quirks to Willy Wonka, but overall pushes too hard where the role should be far more sinister and wickedly charming.

Legendary veteran actor John Rubinstein shines as kindly Grandpa Joe. Adult music theatre fans will enjoy choice comic character actress Jackie Hoffman as Mrs Teavee, who plays the role as a conservative 1950s housewife, albeit one with orange hair and a drinking problem.

Charlie and the Chocolate Factory may have some curiosity value for Broadway completists, but at this stage the only recommendation that can made is to avoid it, especially at the excessive prices being charged (up to $US299 plus booking fees).

Charlie and the Chocolate Factory was reviewed 8pm Saturday 8 April 2017 at Lunt-Fontanne Theatre, New York. Official opening night is 23 April 2017.

As dainty and delectable as a well-cooked soufflé, the new stage musical Amélie is a feather-light confection of pure charm.

Based on the affectionately remembered 2001 film, Amélie focuses on a sweet young woman who seeks only the happiness of others.

In a perfect match of material and star, Phillipa Soo takes on the title role of the selfless waitress. Soo not only brings a legion of fans from her high profile role on Hamilton, but also has the perfect combination of natural beauty and delicate vulnerability to bring the character to life. All this, plus she is a truly lovely singer.

The musical is something of a departure from the usual high voltage Broadway fare, being far gentler in tone and pace. It comes as little surprise that the composers are basically new to Broadway. Daniel Messé (music) and Nathan Tysen (lyrics, with Messé) have crafted a gorgeous set of lilting melodies that are highly enjoyable at first listen. There are a number of ballads, but most of the songs involve most or all of the ensemble cast in some way, and flow very organically from the succinct book scenes.

Acclaimed director Pam MacKinnon helms her first musical with Amélie; her significant experience with plays showing in the way that all 13 members of the company play a distinct character, as opposed to the typical Broadway concept of a generic chorus. Craig Lucas’ book follows the characters and plot of the movie, with the musical theatre form well suited to the generous sprinklings of magic throughout the story.

David Zinn contributes both scenic and costume design, with animated projections (Peter Nigrini) also playing a key role in the design. With the scenic elements, projections and lights in almost constant motion, watching the show is like turning the pages of a beautifully illustrated children’s picture book. Zinn’s costumes are not only highly attractive, but also vital in creating the two-three roles that most cast members play.

The musical begins with a prologue showing snippets from the sheltered childhood of young Amélie (played, at this performance, by winsome actress Savvy Crawford). Amélie’s parents believe she is unwell, and her father becomes even more protective after her mother suffers a sudden tragic fate.

Rising star Adam Chanler-Berat as Amélie’s love interest Nino, the mysterious photographer/collector of photos. Unlike the stereotypical Broadway hunk, Chanler-Berat has a relaxed, individual style that is very well suited to the role. Chanler-Berat and Soo display warm chemistry, their portrayal of the romantic relationship aided greatly by its very slow burn. Amélie does not even think of love for herself until late in the show, allowing the pairing to end with “Where Do We Go From Here?” rather than fully completing the story of their union.

The quirky characters played by the ensemble cast call for a pleasing range of diversity in age, nationality and body type. The 100-minute show (without interval) runs like a movie, with plenty of opportunities for the cast to play featured roles along the way.

Tony Sheldon shows characteristic flair in establishing a pair of contrasting characters. His role as Amélie’s neighbour Dufayel, a sensitive painter, is particularly affecting.

Amélie is a lightweight affair, but its message of pursuing human connections remains a salient one.

Amélie was reviewed 3pm Sunday 9 April 2017 at Walter Kerr Theatre, New York.

Photos: Joan Marcus

A glossy, if rather slender, new musical, War Paint is a chance to luxuriate in the performances of a pair of Broadway’s greatest divas. Two-time Tony Award winners Patti LuPone and Christine Ebersole prove utterly deserving of such a splendid showcase for their talents, each performing in peak condition.

Beauty pioneers and masters of self-reinvention, Helena Rubinstein and Elizabeth Arden lived remarkably similar, parallel lives. The women are notable not just for the introduction of cosmetics and beauty products to American women, but also for their business acumen in running successful companies bearing their own names.

As the concept for a musical, Rubinstein and Arden’s lives are filled with opportunities for juicy conflict, soaring ballads and stunning period costumes. There is just one slight catch: despite running beauty empires in New York at the same time, in real life the women rarely, if ever, crossed paths.

Anyone watching current hit television series Feud knows that the meatiest, most compelling scenes are the ones where Joan Crawford and Bette Davis cross swords directly. Without this direct conflict, War Paint unfolds as a pair of bio-musicals, alternating its focus on each woman with a smattering of simultaneous scenes as each faces similar issues.

Doug Wright’s book makes the most of opportunities for bitchy one-liners but provides little tension as the twin plots unfurl across the decades. Scott Frankel’s music is beautiful, more melodiously beautiful than his work in Grey Gardens (with the same two co-authors), and yet, on first listen, the music all sounds quite similar. Michael Korie delivers snappy, cleverly rhymed lyrics that are a pleasure to hear.

The women each lose their key male colleague to the other, and go on to face difficulties during World War II, with further challenges provided by the emerging discount and youth markets. In an amusing and enlightening sequence, the women each shoot themselves in the foot by taking the other to court over product recipes, leading to the ruling that ingredients must be listed on product labels.

While act one ends with a brief moment in which Rubinstein and Arden come “Face To Face,” the authors have contrived a satisfying final scene between the pair. Backstage at a gala function, the women trade barbs and putdowns, before melting towards a more humane approach to each other. The subsequent duet “Beauty in the World” is a stirring finale.

David Korin’s scenic designs have the luxurious edge that befits the glamorous world of the beauty business. A clever touch is walls of frosted glass bottles that can be lit in a range of colours to distinguish the setting of each woman’s beauty salon. In a striking scene, the elderly Rubinstein reflects on the artists who have captured her likeness as a wall of portraits hang overhead.

Costume Designs, by the redoubtable Catherine Zuber, are not decadent, witty and pristine, but also help to tell the story with the passing of the years made perfectly clear.

LuPone is deliciously entertaining as the driven Rubinstein, who sneers at the world and wears her Polish accent as a badge of pride.

Pretty in pink, Ebersole is equally suited to her role, ruling her empire with fabled iron fist in a velvet glove.

Each of the women are in particularly string vocal form, and their singing is a pleasure to hear.

This is a woman’s world, and, unlike Hollywood, the men are relegated to second banana. John Dossett is Tommy Lewis, Arden’s clever but unsatisfied husband who leaves to work with Rubinstein. Douglas Sills is self-confident homosexual Harry Fleming, who, frustrated with Rubinstein, is tempted by Arden to come and work with her.

The eight highly talented members of the female ensemble work nonstop throughout the show, playing any number of varieties of female roles.

Come for the divas; stay for the glamour.

War Paint was reviewed 7pm Tuesday 11 April 2017 at Nederlander Theatre, New York.

Photos: Joan Marcus

Highly original in style and extraordinarily exuberant in performance energy, Natasha, Pierre and the Great Comet of 1812 is a fresh, exciting and affecting new musical.

The creative team of The Great Comet has gone the extra distance to ensure that this is a unique piece of theatre. Entering the space, the Imperial Theatre auditorium and stage are unrecognisable, reconfigured into an immersive arena without any trace of a traditional proscenium arch. The walls are adorned with red velvet curtains and dozens of framed pictures of Russian images. Twinkling lights and satellite fittings hand overhead while lap lights flicker at tiny tables throughout the auditorium.

The ensemble enters, tossing tiny take away boxes of potato dumplings to the eager audience and the show is underway.

In an incredible feat of writing, Dave Malloy has crafted the book, music, lyrics and orchestrations for the show. The music is a stirring mix of Russian folk and classical music, with a modern twist. A key to Malloy’s success in writing the through-sung show is the well-judged balance between lively full company numbers and soaring ballads.

The music is played by both a dedicated band and by most members of the cast, who pick up an instrument at various points of the show. Even the audience joins in, shaking little egg-shaped shakers in time during act two gypsy-themed number “Balaga.”

The story is, of course, taken from Tolstoy’s epic masterpiece War and Peace. Given that the full story is beyond the scope of any Broadway musical, Malloy has focused on romantic young heroine Natasha.

The musical covers the second half of Volume Two of Tolstoy’s vast tome (which consists of four volumes and an epilogue). Natasha is already promised to the dashing Andrey, who is away because of the war. Attending an opera, Natasha meets handsome fiend Anatole, brother of Pierre’s devilish, self-serving wife Hélène. Andrey accepts the dissolution of his engagement to Natasha, but her cousin Sonya foils Natasha and Anatole’s elopement and Natasha takes poison. Pierre sees the Great Comet, and believes that life for him and those he loves is poised to begin anew.

While a little preparation is an aid to following the plot, the key characters are introduced very clearly during “Prologue.” Director Rachel Chavkin ensures that the storytelling is clear in broad terms, providing so much visual stimulation and infectious entertainment that even audience members who tune out of the story will find plenty to amuse them throughout the show. Sam Pinkleton’s dynamic choreography is also a big part of the spectacle.

Just as the music is an eclectic mix, so too are the costumes (by Paloma Young). Lead characters are given a distinctive look to help the audience keep them clear. The ensemble wear close-fitting outfits made, in part, of modern items yet having a strongly suggestive period look overall.

Leading man Josh Groban proves a strong team member, staying in the central orchestra area to play piano accordion, piano and percussion between his scenes. Pierre steps into the spotlight halfway through act one with stunning I wish song “Dust and Ashes.” Groban’s singing voice is absolutely superb, with an effortless range and a truly gorgeous tone. Groban is endearing as awkward, stout Pierre, immersing himself within the role.

Denée Benton is a delightful leading lady, well up to the task of carrying such a large show. Benton successfully establishes a sympathetic character, despite the fact that Natasha is essentially cheating on Andrey by responding to Anatole’s advances.

Natasha, Pierre and the Great Comet of 1812 is one of Broadway’s current must-see musicals, particularly while Josh Groban remains in the cast (until 2 July 2017).

Natasha, Pierre and the Great Comet of 1812 was reviewed 2pm Wednesday 12 April 2017 at Imperial Theatre, New York.

Less is so much more as revered musical Sunday in the Park with George returns to Broadway. The staging may be partial, but the music, humour and heart are all there in abundance.

After creating a sensation in a four-night run at New York City Center last October, the stars aligned for the production to transfer to Broadway for an all too brief season. This revival of revered 1984 musical Sunday in the Park with George has served as the first production in the newly refurbished Hudson Theatre, which has not housed a theatrical production in this reviewer’s lifetime.

While there is much to admire in the production, the jewel in the crown, and chief attraction, is the central performance by movie star Jake Gyllenhaal. As famed artist Georges Seurat, Gyllenhaal captures the brooding, focused, detached nature of the artist to great effect. Gyllenhaal reveals an effortlessly confident singing voice capable of rapturous tone. He deliberately plays down the potentially showy nature of the role, drawing the audience towards him in choice numbers such as “Finishing The Hat.”

Despite looking identical in act two, which is set 100 years later in 1984, Gyllenhaal successfully creates a differing character as Seurat’s grandson George. The modern George is still focused, but is far more aware of others. Gyllenhaal is gently compelling through the charming company number “Putting it Together,” and ends the evening in most moving fashion as George fully absorbs his heritage on location in Paris in “Sunday.”

Stephen Sondheim’s cherished score is given a luxurious treatment, especially by the uniformly excellent singing voices of the full company.

Director Sarna Lapine, niece of book writer James Lapine, distinguishes herself splendidly in her Broadway directorial debut. Apart from the very strong character work amongst the people that spend their Sunday afternoons on the Island of La Grand Jatte, a hallmark of Lapine’s work is the fully realised humour of the piece. This saves the show from being too stuffy and highbrow a piece, and ultimately allows the moving moments to land with even greater weight.

The staging places the orchestra on stage, seated behind a theatrically draped scrim curtain onto which animated projections (Tal Yarden) are displayed. Clint Ramos dresses the company bold secondary colours, using luxurious silk for the women. In a clever touch, each character’s act one counterpart is referenced in the colour choice for their act two costume.

The centerpiece of the design is the truly stunning lighting installation representing George’s Chromolume #7. Scores of tiny globes fly down from the ceiling of the auditorium, rising and falling in undulating waves. Changing colours, the hypnotically beautiful globes seem to represent the sparks from fireworks.

An established supporting player on Broadway, talented young actress Annaleigh Ashford has catapulted up the ranks to play the iconic dual roles of Dot (Georges’ model) and Marie (Georges’ daughter/George’s grandmother). Blessed with delightful comic timing, Ashford also has an attractively pure singing voice; she sings directly through the centre of each note without a hint of vibrato. Having won all of the audience’s hearts as dotty Marie, Ashford’s performance of Marie’s final reminiscence “Children and Art” is deeply moving.

Notable supporting cast members include Brooks Ashmanskas and Liz McCartney as American tourists Mr and Mrs, Robert Sean Leonard as fellow artist Jules, and Penny Fuller as the cantankerous Old Lady who performs exquisite act one duet “Beautiful” with Georges.

A highly memorable production, Sunday in the Park with George is Broadway talent at its unadorned best.

Sunday in the Park with George was reviewed 8pm Wednesday 12 April 2017 at Hudson Theatre, New York.

Photos: Matthew Murphy

Shining, shimmering, splendid, Aladdin transports audiences on a magic carpet ride to a whole new world of kaleidoscopic intensity.

Looking pleasingly pristine and perfectly polished in Her Majesty’s Theatre, Melbourne, Aladdin offers plenty of bang for your theatregoing buck. The result of the handiwork of some of Broadway’s most talented practitioners, the stage musical takes the very best of the 1992 animated movie and dials up the music, magic and spectacle to the extreme.

Acclaimed Broadway director/choreographer Casey Nicholaw now dominates Melbourne’s East End theatre district, with his 2014 hit Aladdin joining his 2011 hit The Book of Mormon. Nicholaw’s confidently integrated style melds dance throughout a production, infusing a show with infectious joy. Aladdin features the current Broadway trend of continual movement, with lights, scenic elements and cast members constantly changing and evolving.

A lavish visual feast, Aladdin’s scenic design (Bob Crowley), costume design (Gregg Barnes) and lighting design (Natasha Katz) are awash in rich jewel tones and exotic pinks, purples and oranges. The extravagantly gilded Cave of Wonders is exceptionally spectacular, an appropriate setting for the musical’s biggest showstopper, “Friend Like Me.” Aladdin and Jasmine’s magic carpet ride remains a how-did-they-do-that wonder, for which the only logical explanation is that it works by actual magic.

In bringing the movie to the stage, a particularly successful aspect has been the expansion of Alan Menken, Howard Ashman and Tim Rice’s original score. The new songs are instantly enjoyable, allowing the score to be appreciated as a cohesive whole. Cut from the movie, “Proud of Your Boy” is a gorgeous I wish song for Aladdin. Aladdin’s best friends charm with “Babkak, Omar, Aladdin, Kassim” and act two’s rollicking “High Adventure,” before joining Genie and Aladdin on Randy Newman-esque friendship song “Somebody’s Got Your Back.”

There is a noticeably masculine energy to the musical, with Aladdin’s monkey Abu replaced by three best friends Babkak, Omar and Kassim, and villainous Jafar’s squawking parrot Iago replaced with squawking sidekick Iago. The central bromance between Aladdin and the Genie is just as important, if not more so, than the traditional romance between Aladdin and Princess Jasmine.

Chad Beguelin’s amusing book contains a sprinkling of sly mentions of aspects of the movie. In a clever touch, the inherent corniness of necessary acts of bravado and villainous laughs is avoided by having the characters draw attention to them in mocking, self-referential tones.

Ainsley Melham is nothing short of superb as Aladdin. Suiting the role of the diamond in the rough perfectly, Melham dances, fights and leaps about the stage being alternately romantic, brave, vulnerable, sweet, cheeky and dashing. Melham soars through the vocals with ease, revealing a thrilling tenor voice.

Broadway import Michael James Scott is sensationally sassy as the camptastic Genie. With energy levels on hyper-drive, Scott recalls the improvisational feel of Robin William’s vocal performance in the movie with his own warm interpretation of the role.

London import Hiba Elchikne brings nothing to the role of Princess Jasmine that could not have been bettered by a local performer, making her casting a mystery.

Melbourne stage stalwart Adam Murphy relishes the dastardly role of Jafar. Aljin Abella scores every laugh with his high-octane delivery as gleefully malicious sidekick Iago.

As Aladdin’s high-spirited, well-meaning friends, Adam-Jon Fiorentino (Kassim), Troy Sussman (Babkak) and Robert Tripolino (Omar) elevate the importance of the roles with their terrific performances. Each also succeeds in uniquely distinguishing their character.

The ensemble performers, each more gorgeous than the next, dazzle with their marvelous song and dance.

Pure entertainment, Aladdin is the ideal treat for theatergoers of all ages.

Aladdin plays at Her Majesty’s Theatre, Melbourne.

Man in Chair has reviewed Aladdin in Sydney.

Man in Chair has reviewed Aladdin on Broadway.

Photos: #1, #2, #3, #5, #6 Dean van Meer; #4 Michele Aboud

The Shanghai Ballet’s highly traditional production of Swan Lake is distinguished by the exquisite use of a huge corps de ballet of angelic dancers.

In the late 1990s, international choreographer Derek Deane enjoyed great success with stagings of a trio of large-scale ballets at London’s Royal Albert Hall. In 2015, he re-staged his Grand Version of Swan Lake for a proscenium arch theatre for The Shanghai Ballet. The mighty Regent Theatre is the ideal venue for the exclusive Melbourne season of this Australia tour, allowing the lavish work to be seen on the grand scale in which it was designed.

Designs for this production are by renowned designer Peter Farmer. Responsible for some of the most opulent ballets ever staged at The Royal Ballet and The Australian Ballet, amongst many others, Farmer sadly passed away in January of this year. Farmer’s grand work for Swan Lake fills the Regent stage more capaciously than many a musical theatre production.

Largely consisting of painted backdrops, the scenic design has greatest impact at the top of acts two and four, when the curtain rises on the heavily misted lakeside setting. Swan costumes feature a dainty white headpiece and featherlight tutus that seem to float in space. Farmer creates a richly regal impact for Prince Siegfried’s Birthday in act three with the ensemble in elaborate brocade tunics, half in ruby red and the other half in emerald green. Siegfried and Odile’s gleaming black costumes in this scene are also supremely eye-catching.

While local audiences are accustomed to live performances of ballet scores, the recorded music used for this tour is well reproduced, and makes suitable use of dynamics.

Deane’s aim with the work is to follow tradition whilst ramping up the spectacle, and this is certainly achieved with great flair. With a very strong focus on acting, Deane has kept the storytelling engaging, adding moments of nuance to the broad strokes of the well-known tale.

The most noticeable strength of The Shanghai Ballet is the extraordinary depth of talent throughout the company. Divertissement after divertissement is danced with stunning perfection, the dancers beaming with the joy of the beautiful work they are performing.

The key attraction of the tour is the huge flock of swans, which is made up of a staggering 48 dancers. Deane’s work in the acts two and four lakeside scenes is a triumph. Choreographing so many dancers, especially ones as perfectly matched in proportion as these, Deane is able to create abundant ongoing variations of elegant patterns. During Odette and Siegfried’s pas de deux, the swans are like a living, breathing backdrop. This fluid beauty cannot help but have a palpable affect on the viewer, noticeably elevating the impact of the work.

The Shanghai Ballet was fortunate enough to engage Ako Kondo, a Principal Artist of The Australian Ballet, to play Odette/Odile. Kondo is a marvellous asset to the production, fitting in seamlessly with the choreography and creating a gorgeous pairing with Wu Husheng, First Principal Dancer of Shanghai Ballet. Kondo dances Odette with delicate grace that belies her supple strength. If Kondo’s Odile is, perhaps, a little sweet rather than wicked, this is nonetheless endearing and lovely to watch. Overall, Kondo has taken full advantage of the opportunity to show her potency as a prima ballerina.

Tall and gracious, Husheng captures Prince Siegfried’s noble solitude very well, engaging the sympathy and affection of the audience. A generous and supportive partner, Husheng enjoys chemistry with Kondo and with his Tutor and the Queen. Husheng’s full capabilities come to the fore with his solo work in in act three, in which his leaps almost take him up to the chandeliers.

The Shanghai Ballet’s Swan Lake is a memorable evening that reinforces the sheer beauty of ballet.

Derek Deane’s Grand Version of Swan Lake plays at Regent Theatre, Melbourne until 24 April 2017.

Photos: supplied (note: Ako Kondo is not shown as Odette)

Adding another layer to Melbourne’s burgeoning independent opera scene, BK Opera distinguishes themselves with a fine performance of Massenet’s romantic tragedy Werther.

Operas are no use sitting in dog-eared scores on the shelf. Operas are made to be heard and experienced and enjoyed. BK Opera takes Massenet’s score for sumptuously melodious opera Werther off the shelf and brings it to life in a bare bones performance that trades production values for heart and soul. On a cold, rainy Melbourne night, is it not more admirable to be out enjoying a classic opera score than sitting at home mindlessly watching reality television?

For their second presentation since forming in 2016, Blancke Knochen Opera has put the focus on young singers and quality music. An audience does not expect lavish staging when attending an opera for $30 in an aging, inner city hall. Instead of focusing on what is missing from the production, a look at what has been achieved is far more revelatory.

The full opera has been meticulously learnt, and is sung in French with English surtitles. Singers are very well cast in their roles, and their intense focus brings out the personal relationships of the characters with clarity. In short, the music can be simply enjoyed on its full merits with no weak links in the performers.

As a choice of second instrument, the cello proves ideal, providing the melancholy edge that the music richly needs. While piano and cello took a few bars to synchronise on opening night, conductor James Penn went on to hold the performance together with gentle fluidity. Playing an excellent arrangement by Penn, Grace Gilkerson gives a stirring performance on cello. Pam Christie, who also acted as repetiteur, plays with a deftly light touch underpinned by sterling musicality.

Director Kate Millett presents a unique staging, with cast members staying in the hall even while they are not centre stage. This promotes a strong sense of community and togetherness while watching the opera. Using the Abbottsford Masonic Hall’s elegant portrait of a young Queen Elizabeth II as the central scenic element, Millett has seamlessly updated the action to 1950s Britain. The period costumes bring are well researched and prepared, and add visual interest to the production.

If there is one drawback to the performances, it is that some of the voices are simply too big for the space. This aspect, it should be noted, could be attributed to musical or directorial preparation. The capabilities of the lead singers are indeed impressive, but the quality is hard to appreciate at such intense volumes. The gentle nature of these dear characters really needs performances that draw in the audience rather than overwhelming them.

As Werther, Patrick MacDevitt captures the gloomy nature of the troubled young man. MacDevitt wisely makes no effort to soften or overly romanticise the man, simply allowing the audience to accept Werther for the sweet poet he is.

While perhaps presented a little too glamorously for twenty-year-old Charlotte, Allegra Giagu nonetheless brings out the sympathetic aspects of a young woman torn between love and duty. Giagu excels in the Letter Scene, opening the third act with an extended period of lovely singing.

In a gorgeous slivery grey brocade dress and velvet hair ribbons, soprano April Foster brings out the youth and innocence of Sophie. Foster and Giagu show the sisters’ loving relationship, with Giagu’s height giving Charlotte a maternal aspect with her younger sister Charlotte.

Finn Gilheany’s portrayal of Albert contrasts Werther’s romanticism with Albert’s sensible demeanour. Steve Carolane and Josh Erdelyi-Gotz give solid support as drunken local men Schmidt and Johann. Powerful bass Samuel Thomas-Holland is heard all too briefly Charlotte and Sophie’s father, Le Bailli.

Operas charging ten times the price will surely have abundant spectacle. As a value ticket, Werther is an admirable project from a promising company that deserves support.

Werther plays at Abbotsford Masonic Hall, Melbourne until 6 May 2017.

Photos: Aleya Colton

Although its timeless quality and eerily prescient politics make Cabaret ripe for revival, a proliferation of poor directorial choices derails the promise of this new production.

Ahead of its time in 1966, Cabaret startled audiences by merging a traditional book musical with the avant-garde stylings of a concept musical, a form that producer/director Harold Prince was not to explore further until the early 1970s. Interspersed between the scenes at Fraulein Schneider’s boarding house and Herr Schulz’s fruit shop were abstract, musical numbers on the stage of the decadent Kit Kat Klub. These numbers provided oblique social commentary on the action, providing food for thought for the imagination of the audience.

Direction for this new staging of Cabaret, which is credited to Gale Edwards in Melbourne, blurs the lines between book scenes and social commentary numbers to the point of destroying the original intent of book writer Joe Masteroff, composers John Kander and Fred Ebb and original director Harold Prince. When Cliff joins “Two Ladies,” and when Ernst and Cliff join “The Money Song & Sitting Pretty,” it is not clear in what realm these moments are occurring. When a chorus boy walks on stage and sings “Tomorrow Belongs To Me” there is not even any effort at a context. Rather than impactful, these numbers become fanciful and trivial.

Following the emerging conflict of Fraulein Schneider being engaged to Jewish man Herr Schulz, the commentary device seems to actually be working in “If You Could See Her.” In this song, the Emcee boasts of his lady love, whom we clearly see is a gorilla. At the end of the song, however, audience intelligence is given a slap in the face when the Emcee lifts up the mask of the gorilla to show us that it is actually Herr Schulz. The powerful effect of the final whispered line “…she wouldn’t look Jewish at all” is completely lost.

Given the quality of the sound design (Nick Walker, Andrew Worboys), it is presumed that the excessively high volume is another directorial decision, in line with the general concept of hitting the audience over the head with the material. The loudness, combined with the strident direction, means that none of the performances are given the chance to draw the audience in. Sally Bowles has no air of mystery, Fraulein Schneider has no chance to display vulnerability and Herr Schulz has little chance to cultivate sympathy. Even the deliberately unlikeable characters of smuggler Ernst Ludwig and prostitute (and Kit Kat Girl?) Fraulein Kost lose their seedy edge.

The 1987 Broadway revival version is used in the production, and this is much more closely related to the 1966 original than the more recent Sam Mendes production. Audience members who only know the show through the 1972 movie will miss “Mein Herr” and “Maybe This Time,” but will appreciate the inclusion of a little of “The Money Song” within “Sitting Pretty.” Rarely heard lament “Don’t Go” is sung by Cliff, replacing original number “Why Should I Wake Up?”. The Emcee finishes with searing ballad “I Don’t Care Much,” although the character suffers the indignity of moving a chair off-stage as he sings.

The black and gold proscenium arch of the Athenaeum Theatre is an ideal match for the seamy faded glory of James Browne’s light globe-studded single set. Café tables and chairs are set up at the front of the auditorium to create the Kit Kat Klub vibe.

Browne’s costumes are highly attractive, although their authenticity is generally undermined by being a little too pristine. It seems an odd choice for the four chorus members who are Kit Kat Klub dancers to each have an individual look, but at least this makes it less distracting when actors in other roles join in to swell the ranks of the dancers. The gradual change to Nazi uniforms for the chorus is one of the few subtle points of the night.

Making good use of a tight stage space, choreographer Kelley Abbey keeps the dance numbers slick and lively.

Lindsay Partridge’s snappy musical direction makes the music one of the standout features of the production. The band of seven musicians includes Partridge on piano and fellow talent Andrew Worboys on accordion and keyboard. The band sounds exceptional throughout the show, with a clear highlight being their thrilling work in the act two “Entr’acte.”

Chelsea Gibb makes the role of Sally Bowles her own, and gives a mighty rendition of well-known title song “Cabaret.” Gibb maintains the energy of a woman surviving precariously on the edge through sheer force of will.

Exuding a highly likeable stage presence, Jason Kos gives a breakout musical theatre performance as Cliff. The increased focus on Cliff’s bisexuality detracts from his love affair with Sally, and the character’s participation in Klub numbers brings a superficiality to the drama Cliff is witnessing. The winning appeal Kos’ natural charm makes him one to watch in the future.

Paul Capsis is an inspired choice for the gleefully malevolent Emcee. In another odd directorial choice, the Emcee spends much of the time sitting side stage in the half dark like a disobedient child sent out of the room; he does, however, come to life in his musical numbers.

Undermined by fast tempi and loud volumes, and slightly hampered by pitch issues, Kate Fitzpatrick nonetheless maintains a grounded, world-weary presence as survivor Fraulein Schneider. Veteran musical theatre performer John O’May makes a welcome appearance as kindly fruit shop proprietor Herr Schulz, successfully managing to convey a gentle tone despite the high volume acoustics.

Sterling talent Debora Krizak is reliably magnetic as Fraulein Kost, just as experienced veteran Michael Cormick is sweetly charming as Ernst. Both Krizak and Cormick are enjoyable to watch despite their loathsomely self-serving characters being bereft of their grit, pathos and menace in this production.

The enduring appeal of Cabaret, the considerable talents of the cast and the potential timeliness of this season make the shortfalls in this production all the more disappointing.

Cabaret plays at Athenaeum Theatre, Melbourne until 20 May 2017.

Photos: John McRae (note: photos are of the Sydney 2017 season)

With years of experience on the musical theatre stage, the time is right for Kane Alexander to release his second album, Different Stages: The Broadway Album, a collection of Broadway’s most popular tenor ballads and duets.

Alexander’s early career involved both musical theatre and cabaret, with the latter clearly heightening his ability as a storyteller through song. A handsome, talented performer, Alexander was always going to be in demand for leading man roles such as Billy Crocker in Anything Goes and Claude in Hair (both for The Production Company, Melbourne). Not just a pretty boy, Alexander’s quirky work with character roles scored him parts such as Scarecrow in The Wizard of Oz and Willard in Footloose (both in Sydney in the early 2000s).

Remember when Melbourne Theatre Company used to do musicals? (They used to do them very well.) A breakout role for Alexander was the romantic rebel Bobby Strong in MTC’s unforgettable 2004 staging of Urinetown.

Melbourne audiences have recently welcomed Alexander back to the musical theatre stage, where he has played lead roles for exemplary new independent production house Life Like Company. After starring as the dashing army captain Giorgio in Passion (2014), Alexander went on to play gritty private eye Stone in City of Angels (2015).

The seventeen songs on brand new album Different Stages span more than five decades of Broadway musicals. There are songs from roles Alexander has played, the roles that got away and roles he is yet to play.

While many a Broadway album simply consists of singer and piano, Alexander’s wonderful vocals are accompanied by the lush sound of the English National Symphony Orchestra.

The album grabs attention from the first track, in which Alexander, and music director David Cameron, finally solve the problem of how to balance the syllables in the word “boulevard,” in “Sunset Boulevard,” in a natural manner. Not even the current Broadway revival of Sunset Boulevard manages this achievement.

Classic 1980s/1990s tenor power ballads on the album include Boublil and Schönberg’s mighty duo “Why God, Why?” (Miss Saigon) and “Empty Chairs at Empty Tables” (Les Misérables), “If I Can’t Love Her” (Beauty and the Beast) and “Anthem” (Chess). Alexander has the soaring range and vocal power to easily conquer these classics, but the additional asset he brings to these oft-recorded hits is the luxuriously warm romantic tone of his voice. There is a strong sense that the renditions of these handpicked songs are labours of love, giving the album an live, intimate feeling.

One show where Alexander does not go for the tried and true choice is Jekyll and Hyde, skipping over the bombastic “This is The Moment” to instead power through “I Need To Know” to thrilling effect. Another terrific choice amidst the well-known selections is “It All Fades Away.” The most recent song on the album, this song is from the 2014 Broadway musical The Bridges of Madison County (which is in urgent need of an Australian premiere).

One of the most gorgeous and surprising arrangements is for classic tune “Edelweiss” (The Sound of Music). The well-known song is given a fresh, improvisational feel, its tender sweetness cleverly offset with a melancholy cello solo.

For the smattering of duets on the album, Alexander is partnered by a choice selection of stars of the Australian musical theatre stage. Natalie Mendoza, a cast mate from more than twenty years ago in the Tenth Anniversary Australian production of Les Misérables, joins Alexander for a special arrangement of Oscar-winning song “Falling Slowly” (Once). Beloved songbird Silvie Paladino accompanies Alexander on the truly lovely duet “Sun & Moon” (Miss Saigon). Talented young soprano Claire Lyon partners Alexander on exquisite duet “One Hand, One Heart” (West Side Story). And prepare to swoon when acclaimed actor Simon Gleeson joins Alexander for “Lily’s Eyes” (The Secret Garden).

While Alexander’s characterful rendition of jaunty tune “All I Care About is Love” (Chicago) reveals him as an ideal Billy Flynn, the most exciting potential role previewed on Different Stages is the lead role of Broadway’s longest running musical. Alexander concludes the album with a superb performance of “The Music of the Night,” portending that his handsome features could one day be covered by the Phantom’s mask.

Musical theatre fans will find plenty to enjoy on Different Stages. Lovers of big Broadway tenor voices will be sure to cherish the recording.

Kane Alexander’s Different Stages: the Broadway album is available for pre-order. Orders through the official Kane Alexander website receive bonus digital tracks “The Prayer” (with Silvie Paladino) and “Flight.”

Watch the promotional clip for Different Stages:

Photos #4, #5: Ben Fon

Emotionally sharp, gorgeously sung and spectacular to behold, Opera Australia’s new Carmen is a production to be treasured.

The second collaboration between Opera Australia and veteran director John Bell, the opera benefits immensely both from Bell’s heightened theatricality and his finely honed emotional acuity. Where lesser directors can drown a work in heavy handed concepts, Bell’s inspired update to modern day Havana is a masterstroke. Honouring the origins of Bizet’s musical influence for the score, the setting replicates the dry, dusty heat and fiery passion the story requires. Military police and underground crime coexist, and everyone dresses in festively vibrant tones.

The mix of sex and violence is previewed with an opening tableau of couples engaged in altercations straddling a fine line between physical and sexual. Bell masterfully dresses the stage with performers, drawing the eye to key relationships.  As Carmen sets her sights first on Don José then Escamillo, the emotional beats of the story land with sterling clarity. In a particularly effective touch, Carmen’s reading of the cards is handled with dark seriousness, avoiding the potential melodrama of her repeated drawing of the death card. The audience has a moment alone with Carmen at the end of act three as she collects herself before heading off to join Escamillo, knowing it could lead to her end. Strong engagement with Carmen, and further gravity in the direction, leads to a highly affecting climax.

Premiering in Sydney last year, the production looks splendid in Melbourne’s larger State Theatre. Michael Scott-Mitchell recreates the sun-bleached, crumbling architecture of Havana in hyper realistic style, cleverly staging each of the four acts within the one large-scale set. Lillas Pastia’s tavern becomes a VW combi van serving street food, and the smuggler’s depot is a large warehouse full of boxes of exotic goods.

Teresa Negroponte’s costumes are a riot of vivid colour. From the street kids to the factory girls, all are attired in eye-popping shades of red, purple, yellow and green. The military sport various shades of fatigue chic, and even the Mr Big of the subversive smugglers wears an oversized fuchsia overcoat. When Don José relents and join Carmen and the smugglers, he is symbolically given a coloured jacket to wear.

A cheeky gang of tearaways, the children’s chorus add early verve to the production as they mock the changing of the guard. They return in act four, filling the musical interludes during the parade of toreadors with more crisp, athletic street dancing. Choreographer Kelley Abbey also provides high energy moves for the stunningly dressed toreadors in the parade.

If there is a particular quality to the performance, it may be because so many of the artists have the work in their bones. Less than a fortnight after completing Carmen for this year’s Handa Opera on Sydney Harbour, maestro Brian Castles-Onion is back on the conductor’s podium, and more than half of the lead cast are back on stage, albeit a couple of them in different roles.

Castles-Onion starts proceedings with Orchestra Victoria flying through the overture at a cracking pace. By contrast, the audience is warmed back into the story after interval with a dreamily mellow performance of the third act entr’acte. Castles-Onion’s innate musicality supports an intelligent reading of the score, allowing Bell’s stage work on mood and relationships to be strongly supported by the shimmering orchestral playing.

The Melbourne season is fortunate indeed to be led by Rinat Shaham, one of the world’s most experienced and acclaimed interpreters of Carmen. Rather than looking like an interpolated diva, Shaham’s Carmen rises organically from the people. She is attractive, sultry and tempestuous and yet always in control of both the situation and of herself. Shaham’s deliciously voluptuous vocals bring all manner of colour and shading to the role, all the while grounding her as a believably rounded individual.

Shaham’s appearance alone is drawcard for the season, but her castmates are more than up to the challenge of matching and complementing her central performance.

In his Melbourne debut, rising Ukrainian tenor Dmitry Popov excels as Don José, convincingly taking the young man from loving son and dutiful soldier with a trouble past to threatening rebel and possessed killer. Popov’s flexible, effortlessly pure tenor is a pleasure to hear. His rendition of “La fleur que tu m’avais jetée,” known as the Flower Song, is exquisite with tender piano and pianissimo dynamics fortified by unwavering breath control.

Fresh from the playing the title character in Sydney, exceptional singer-actress Sian Pendry is unrecognisable as lively bottle blonde Mercédès. Ever delightful performer Jane Ede reprises her giddy Frasquita, her clarion soprano ringing out over orchestra and singers alike in ensemble sequences. Shaham enjoys great chemistry with all of her co-stars, but when she joins force with Pendry and Ede they make a particularly formidable trio.

Stepping up as the natural successor to Nicole Car, young soprano Stacey Alleaume makes a highly auspicious hometown debut. Dressed in innocent cornflower blue, Alleaume’s Micaëla projects an angelic innocence in contrast to the grasping city dwellers. Alleaume’s heavenly soprano is at its very best in act three aria “Je dis, que rien ne m’épouvante,” which Alleaume finishes with a gorgeous pianissimo as soft as breath itself.

Shane Lowrencev has an imposing presence as swaggering toreador Escamillo and sings the bass-baritone role with apparent ease. In his third consecutive season of Carmen, Adrian Tamburini now owns the role of Zuniga. Tamburini provides such a menacing masculine presence that the lieutenant’s comeuppance is all the more satisfying.

Carmen is first rate entertainment. It is as close to a piece of music theatre that an opera newcomer could wish for, as well as being a highly satisfying and wonderfully entertaining production for opera aficionados.

Carmen plays at State Theatre, Arts Centre Melbourne until 26 May 2017.

Photos: Jeff Busby

Proving that lightning can indeed strike the same place twice, Victorian Opera’s concert presentation of La Sonnambula was another unforgettable evening of bel canto brilliance showcasing superstar soprano Jessica Pratt.

Making her fourth Melbourne appearance in four years, Pratt is a firmly established favourite of Melbourne’s opera cognoscenti, who gathered in their droves at Hamer Hall last night. Hopes were high after the sensational 2015 concert staging of I Puritani, and yet the quality of the music matched, if not exceeded, these expectations.

Another gorgeous Bellini opera, La Sonnambula’s daffy plot (about a misunderstanding caused by a young woman’s sleepwalking) impedes it from being included in regular repertoire. While a few lines of text may have drawn good-natured laughs, the featherlight nature of the storyline was insignificant to the enjoyment of this superb concert staging.

The assembled presence of more than 50 members of Orchestra Victoria and 32 chorus singers created a glossy stage picture, and maestro Richard Mills led these artists in a superb performance of the score. Both instrumental and choral music were distinguished by the excellent use of dynamics. Expert playing was heard from the horns, with a remarkably fine solo from principal Jasen Moulton early in the second act.

Pratt’s sublime artistry and experience with the opera were very well supported by the carefully selected lead cast. The singers demonstrated strong rapport, interacting as much as possible given the front-facing concert setting.

In small featured roles, and doing double duty as Chorus members, young singers Timothy Newton (bass) and Tomas Dalton (tenor) made the most of the high profile opportunity, preparing to the point of not needing scores for their solo work. Both gentlemen acquitted themselves admirably, more than holding their own alongside their more experienced co-stars.

Highly accomplished mezzo-soprano Roxane Hislop provided a warm presence as the affectionate mother of sleepwalker Amina. Dressed in black velvet bodice and fuchsia silk skirt, Hislop sang with heartfelt expression and unblemished tone.

Emerging soprano Greta Bradman portrayed the rarest of opera characters, a soprano villain. Wearing a floor-length grey gown with glittering diamante-encrusted belt, Bradman exuded the coy innocence of the deceptively wanton Lisa. Nerves may have been partly to blame for Bradman’s somewhat strident vocals in “Tutto è gioia, tutto è festa…Sol per me non non v’ha content,” the opening aria of the opera. Fortunately, Bradman gathered herself for a highly satisfying performance of Lisa’s second act aria “Lasciami; aver compreso.”

Fit and vital in appearance, visiting international bass Paolo Pecchioli gave a highly convincing reading of lusty, self-serving Count Rodolfo. Pecchioli’s resonant bass voice has a thrilling dark sheen, and rang out with distinctive power in ensemble scenes.

Fulfilling the promise shown in 2016’s Lucia di Lammermoor, Carlos Bárcenas gave arguably his best operatic performance to date, playing Amina’s easily duped fiancé Elvino. Clearly having worked on supporting his softer vocals, Bárcenas expanded his range of expression with lovely sensitive work in welcome addition to his usual impressive power. This sensitivity was on clear display in Elvino’s lovely first aria “Perdona, o mio diletta.” Bárcenas proved a terrific partner for Pratt, the pair making beautiful music in duets, most especially “Son geloso del zefiro errante.”

The star attraction of the evening, Pratt asserted her presence as soon as she stepped on stage, moving her music stand aside to both demonstrate her knowledge of the score and to present herself in an unimpeded view. Beginning in a dark teal ensemble with light gauze shawl, Pratt changed to a fitted black gown with sparkling scarf for the second act. Pratt acted the role as fully as possible, including key moments of sleepwalking, and displayed generous chemistry with her colleagues on stage.

Besides the divine quality of her singing, a key facet of Pratt’s success is the meticulously considered control of her vocals. After opening aria “Care compagne” Pratt had already blown the audience away with her exquisite voice, and yet she had clearly held back as fitted the character and situation as part of a calibrated performance across the entire evening.

In much the same way as in Lucia di Lammermoor last year, Pratt paid tribute to the great Dame Joan Sutherland, largely using the same ornamentations.

Amina’s singing reaches a climax at the finale, with a pair of arias, one sorrowful, one joyful. Despite the dramatic moment, Pratt could not help but permit a sweet smile after “Ah! non credea mirarti,” such was the unbridled enthusiasm of the audience’s response. An interpolated high F at end of “Ah! non giunge uman pensiero” helped to bring the opera to a stunning close.

Future bel canto presentations from Victorian Opera are highly recommended, especially if we are lucky enough to have Pratt back in Australia again.

La Sonnambula was presented in concert 7.30pm Friday 5 May 2017.

The La Sonnambula program can be read online.

The performance of La Sonnambula was filmed, and will be streamed on The Opera Platform from July 2017.

Photos: Charlie Kinross

Insightful direction adds layers of dramatic depth to this splendid production of classic opera double bill Cavalleria Rusticana and Pagliacci.

Crafted in the late 19^th century, the pair of short operas are textbook examples of the verismo style. Leoncavallo wrote Pagliacci in response to Mascagni’s Cavalleria Rusticana, hence creating an ongoing conceptual link between the works.

In this ingenious new production, created at Royal Opera in 2015, director Damiano Michieletto has taken the link even further, setting the two operas in the same small Italian village and deftly interweaving the characters and plot. This clever concept, just one of the director’s innovations for this production, reaps rewarding viewing for the close observer.

Both operas feature an intermezzo, and Michieletto makes his prime connection between the operas in these moments. During Cavalleria Rusticana, the affair between Pagliacci’s Nedda and Silvio is seen to be already in full swing. During Pagliacci, a moving coda to the tragedy of Cavalleria Rusticana is shown (no spoilers here).

Further directorial choices enhance both works. Cavalleria Rusticana opens with a stunning tableau that brings to mind the 2016 mannequin challenge craze. The bloody ending of the opera is shown, with a stand in playing the corpse and the singer providing the ghostly vocals off stage.

In Pagliacci, an inspired sequence sees the play within a play dissolve to backstage, where crazed clown Canio has feverish visions of wife Nedda with fellow actor Beppe while the two are actually performing on stage. Again making use of doubles, the set revolves to show the simultaneous action creating a terrifically powerful sequence out of the relatively twee original sequence.

Michieletto inserts one sight gag that is a wink to the combined concept and to the fact that the same singer plays both lead roles: as Turridu rounds the corner where Pagliacci posters are displayed, he does a brief double take at the sight of his own face (in the role of Canio).

The interwoven concept is handsomely supported by Paolo Fantin’s pair of settings. Each opera has its own set, (Cavalleria Rusticana a bakery and town square, Pagliacci a modest hall and backstage area) and yet it is clearly the same town in the same era (the 1980s). Costumes, by Carla Teti, support the authentic sense of realism. Although Teti’s choice to eschew the traditional commedia dell’arte costumes in Pagliacci ties in with the natural style of the production, it takes away some of the colour and detail that would naturally be part of the performance being mounted by the travelling players.

Maestro Andrea Licata leads Orchestra Victoria with precision and verve, really optimizing the quality of the beautiful instrumental passages. At times, the music threatens to overpower singing that is set in lower registers; the overall balance, however, is of a very pleasing standard.

The scale of production is enhanced by a particularly large contingent of the Opera Australia Chorus, supplemented with an enthusiastic Children’s Chorus. Preparation for these groups is exceptional, resulting in a splendidly rich sound. The Choruses are also to be commended for their excellent acting, the children are delightful in Pagliacci’s play within a play, the adults also contributing significantly to the climactic drama as the assembled crowd realise that something is seriously wrong with Canio.

Taking on the massive task of singing both lead roles, mighty tenor Diego Torre is in excellent form. Unwavering in energy through the double bill, Torre’s voice rings out brightly with steely undertones of strength. Torre’s focused commitment to the drama heightens the impact; his performance as the insanely jealous Canio is particularly strong. In a nother benefit of the intelligent direction, Torre’s performance of showy well-known aria “Vesti la giubba” derived very naturally from the scene.

Visiting Serbian soprano Dragana Radakovic creates a sympathetic characterization of Turridu’s wife Santuzza, showing her to be a vulnerable figure in a world of burly men. A singer in the Slavic tradition, Radakovic’s soprano sounded a little dark when paired with Torre in duet, particularly in her lower register.

Playing the similar role in Pagliacci, Russian soprano Anna Princeva conveys a similar level of vulnerability as Nedda, showing the character as helpless to give in to forbidden passion. Princeva’s rendition of lovely aria “Stridono lassù” is somewhat undermined by direction that sees Nedda throw props about and pound the desk with her fist; nonetheless, her singing is a pleasure to hear.

Also taking on dual roles, highly experienced baritone José Carbó is very well cast as a pair of self-serving cads. Carbó’s sensitive interpretation humanises these roles rather than simply presenting them as villains. A highlight of Carbó’s performance is his sprightly work in the Pagliacci prologue. His singing in both roles is accurate and richly expressive.

Dominica Matthews shines in the plum featured role of Mamma Lucia in Cavalleria Rusticana. As Turridu’s devoted mother, Matthews sings with warmth and brings out both the joy and searing pain in the role.

A gifted actress and excellent singer, young mezzo-soprano Sian Pendry gives another meticulously detailed performance as sultry temptress Lola. Young tenor John Longmuir is entertaining in the characterful role of Beppe. Young baritone Samuel Dundas brings out the ardent passion of Silvio; he and Princeva bring out the romance and tension of extended Pagliacci duet “Silvio! Nedda!” a real highlight.

Long term operagoers who just might dismiss another round of Cav and Pag will find much to enjoy in this intelligently staged work. As an evening of grand operatic entertainment, Cavalleria Rusticana / Pagliacci is very hard to beat.

Cavalleria Rusticana / Pagliacci  plays selected dates at State Theatre, Arts Centre Melbourne until 20 May 2017.

Photos: Keith Saunders

Twenty-four years after presenting the hugely successful Victorian non-professional premiere of Les Misérables, CLOC Musical Theatre and director Chris Bradtke reunite to spend One Day More on the barricade.

Staged on a grand scale and blessed with an army of powerhouse singers, the production is well suited to reaching the far corners of the National Theatre’s sizable auditorium. CLOC matches professional standards in many ways, but their added bonus is always cast size; this Les Misérables is no exception to that luxury, with around 50% more cast members than a professional company could afford.

Marketing for the season promises “a new production,” and while this has generally been achieved, particularly in of terms of sets, the overall tone is highly traditional. CLOC had a stunning success last year with a radically rethought Jesus Christ Superstar, an ingenious production that was gripping, affecting, surprising and thought provoking (not to mention, ultimately, award winning). In his third time at the helm of Les Misérables, Bradtke knows the show intimately. There is no doubt his storytelling is clear and that loyalists will thrill to the chance to enjoy the show again. It must be noted, however, that there seems to be a missed opportunity to illuminate the very well known work through a new lens.

Bringing to mind their acclaimed work on 1999’s The Secret Garden (Whitehorse Musial Theatre) Bradtke and set designer Brenton Staples use an array of tall set units that can be moved and rotated for different settings. Giving the production a unique look, the sets often create a striking image and easily create the large number of locations needed for the story.

The flowing nature of the show was, of course, originally achieved with a revolving stage. In this version, the movement of sets in and between scenes, although smoothly accomplished, can distract from the main action. There is occasionally a surplus of scenery, such as the large sewer backdrop, which is barely referenced by the characters on stage, and the combination of stairs that give Javert a cardio workout before the bridge actually comes in for “Javert’s Suicide.”

The barricade is on an impressive scale, but looks a little too safe. The fact that it rotates is also impressive (even surprising), but comes at a cost of it not filling the width of the stage, making several students look very vulnerable in the gunfight battles.

The lighting design, by Brad Alcock, includes striking moments, particularly in the genuinely thrilling gunfight battles. An overuse of white light, however, often exposes the stage as too crowded and robs some scenes of their mystery. The set for the barricade, in particular is too clearly exposed as a collection of hand painted items. A very successful aspect of the lighting is the superb clarity of the large-scale projected period backdrops, which are in sharp focus on a dozen or more panels at once.

Marcello Lo Ricco’s sound design is crisp and detailed, particularly in the individual amplification of orchestral instruments. Every aspect of Andy McCalman’s excellent work as musical director can be distinctly heard, even if the volume feels just a little high at times. At times, it is difficult to be sure which character is singing, but the well-known story moves along regardless. The transmission of gunshots from speakers around the auditorium elevates the sound to cinematic standard.

Costume designer Victoria Horne extends her remarkable range of skills by working against type on such a gritty show. Amidst the dark hues there are the odd splashes of colours, with highlights including Valjean’s moss green jacket, Bamatobois’ turquoise jacket and a splendid set of military uniforms. A rare misstep is Cosette’s flouncy floral frock, which makes the usually demure character look rather frumpy. It is also not clear why Fantine does not wear the apron and bonnet uniform at the factory. The individually detailed, jewel-coloured ball gowns for Marius and Cosette’s wedding may be the most beautiful ever seen in any production of Les Misérables the world over.

With a physique that clearly indicates Valjean’s extraordinary strength, Mark Doran is perfectly cast as the noble hero Jean Valjean. Doran sings the role, high notes and all, with deceptive ease and with a pleasing variety of tone as befits each scene.

Shaun Kingma successfully maintains an air of dark mystery about Javert. Kingma’s rich, characterful baritone voice is used to marvelous effect; act one aria “Stars” really brings down the house.

Daniel Mottau gives a thrilling performance, raising the role Marius from the usual pouting poseur to a true leading man. Mottau’s singing is superb, making “Empty Chairs At Empty Tables” a real highlight. A magnetic presence, Mottau cultivates chemistry with all of his scene partners and engages audience interest in whatever drives Marius at each stage of the story.

A host of newcomers shine in their first CLOC show. Matthew Green has the soaring voice for Enjolras. Kirra Young brings out the full tragedy of fragile Fantine. Emily Morris is a pure and angelic Cosette. Eighteen-year-old India Morris is a clear crowd favorite as Éponine, belting out her vocals with unwavering precision and power.

In charming form, Scott Hili slyly offsets the callous machinations of slimy Thénardier with a merry twinkle in his eye. Still firmly in the realm of playing ingénue roles, Melanie Ott surprises with a highly characterful performance as Madam Thénardier, her brilliant comic timing provide welcome laughs.

The chorus is blessed with any number of performers who have played leading roles elsewhere, and the choral singing is subsequently of an extraordinarily high standard. Standouts include, but are certainly not limited to Ric Birkett (who is seen in the featured role of Bishop of Digne, Ian Andrew (Bamatobois), Lauren McCormack (vicious Factory Girl) and newcomer Owen Clarke (Feuilly).

Lovers of Les Misérables, of which there are an ever-growing abundance, will surely enjoy the chance to see the beloved show again, especially in a production of such quality. The question of what might have been, with a more adventurous take on the classic, will just have to remain unanswered at this time.

CLOC Musical Theatre presents Les Misérables at National Theatre, Melbourne until 27 May 2017.

Photos: Ben Fon – Fon Photography

One of Melbourne’s all-time favourite musicals, My Fair Lady returns in a sumptuous, sparkling production that meticulously recreates the original Broadway staging.

And when it comes to the original Broadway staging, director Julie Andrews should know, she starred as flower-girl-come-lady Eliza Doolittle some 60 years ago. The sheer beauty of the production is enhanced by Andrews’ finely honed insight into relationships between characters, resulting in an immensely satisfying experience overall.

While many a non-Disney musical can be lost in the mighty Regent Theatre, the perspective in Oliver Smith’s scenic designs is given room to breathe in the cavernous auditorium. For audience members sitting well back from the stage, the three dimensional depth achieved through ingenious design can be clearly enjoyed and appreciated. With far more backstage room than Sydney’s Joan Sutherland Theatre, where this production opened last year, scene changes are much smoother and ten minutes have been shaved off the running time (although at 185 minutes, including interval, the show is still a lengthy experience). The dissolve to the Embassy Ballroom remains the most spectacular sequence, drawing enthusiastic applause on opening night.

Also helping to fill the space is the excellent sound design (by Michael Waters). Every word is heard with perfect clarity, and there are even some immersive sound effects, such as the running of horse races at Ascot.

Cecil Beaton’s divine costumes have been recreated to sumptuous effect. Female chorus members are well served, being draped in jewel tones as they leave the opera in the opening, wearing pale pastel gowns for the Embassy Ball and sporting those eye-popping black and white creations at Ascot.

With 22 musicians in the pit, the orchestra may be down 10 players from the Sydney season, but with internationally renowned Australian musical director Guy Simpson at the helm the result is still wonderful. The lush live orchestra sound is certainly more appealing than the sets of programmed keyboards that besiege modern musicals and lesser revivals. Chorus harmonies are also first-rate, most especially the cockney quartet.

Performances of the lead cast have grown richer and deeper (and funnier) since the 2016 Sydney season, with the whole production anchored by new arrival Charles Edwards. An English stage and screen actor, Edwards is a perfect fit in the role of Professor Henry Higgins, bringing a fresh interpretation and plenty of verve. Tall and handsome, Edwards’ vitality may be at odds with Higgins’ curmudgeonly introversion, but this is used as an asset in the intriguing characterisation. Edwards’ humorous delivery gives Higgins a disarming likability that offsets his outrageous remarks about all women, and Eliza in particular. Edwards gives a star turn without affectation, making Higgins a relatable human who firmly breaks the mold of traditional Broadway leading man.

Enjoying a burgeoning international career, Melbourne-born actress cements her local star status Anna O’Byrne as Eliza. With an exquisite soprano, O’Byrne sings Eliza’s much-loved songs to thrilling effect; “I Could Have Danced All Night” is a highlight, with the final verse feeling like an intimate confession between character and audience. An exceptionally talented actress, O’Byrne has made further strides in the role, deepening the humanity and perfecting the comedy. The Ascot conversation is a riot. Given that the entire audience knows that Eliza will learn to speak properly, O’Byrne puts the tension back into the key moment, showing Eliza’s disbelief and shock as a new voice somehow comes out from within her, then sharing the joy a Eliza gradually takes control of the new power of speech and celebrates the achievement.

Acting opposite Edwards gives O’Byrne further added freshness. The pair could easily play a romantic couple but that is not the story here. Edwards conveys Higgins’ frustration with his emerging feelings of kindness towards another person. O’Byrne shows restraint when Eliza’s frustration and fear bubble over, making the emotions all the more powerful. The pair enjoys crackling chemistry; their acting in the bitter argument after the Ball is the best I have ever seen in this sequence, With Higgins’ genuine confusion at Eliza’s response only riling her up all the more. With the pair’s work from the entire evening all in place, the final scene is also highly satisfactory.

Australian stage royalty grace the supporting roles. Tony Llewellyn-Jones has an easy charm as Pickering. Robyn Nevin exudes class as bristling society matron Mrs Higgins. Deirdre Rubenstein laces her delivery with tender warmth as housekeeper Mrs Pearce. Reg Livermore still gives a brisk and lively performance, bringing out the full colour of dustman Alfred P. Doolittle. Livermore’s performance of Alfie’s visit to 27a Wimpole St was rewarded with very well deserved applause on opening night.

Although he has loosened up considerably in the role, Mark Vincent, as drippy toff Freddy Eynsford-Hill, remains a weak link in the acting stakes.

My Fair Lady is ready to be taken into the hearts of Melbourne musical theatre lovers all over again. The combination of lavish production values and outstanding performances make this a season that cannot be missed.

My Fair Lady plays at Regent Theatre, Melbourne before touring to Capitol Theatre, Sydney in August.

Photos: Jeff Busby, Brian Geach

StageArt breaks Melbourne’s 2017 boutique musical drought with an absolute gem that has been well worth the wait.

Winner of eight 2007 Tony Awards, Spring Awakening has inexplicably never had a professional Melbourne season. With a cast of a little over a dozen performers, this edgy, abstract musical is the ideal choice for a production that is small on scale but large on talent.

Blending the original 1895 play by Frank Wedekind and a modern rock/folk fusion score by Steven Sater (lyrics) and Duncan Sheik (music), the musical version of Spring Awakening points out the perils of an unenlightened world, whatever the century. To listen to the cast recording is only half the picture; the beautiful songs contain none of the story, but rather are a passionate outpouring of the repressed characters’ inner voices.

Working with a strong, well-chosen cast, director Robbie Carmellotti’s intricate knowledge of the book and score has imbued the staging with a myriad of details. The combination of Carmellotti’s meticulous approach and musical director Caleb Garfinkel’s additional arrangements has given the show a fresh look and sound. Characters move in and out of each other’s songs and also occasionally pick up musical instruments, with every moment and interaction clearly the result of the carefully considered choices of a strong overall vision.

The third piece of the picture is the crisp, tightly drilled choreography by Zoee Marsh, in which characters seem to battle against the rising forces of their own bodies through dance.

Carmellotti’s stage design removes the wings so as to maximise the Chapel off Chapel space. Three raised platforms, painted with a large knotted tree, create the locations for the freely flowing musical. The physical design is closely aligned with Jason Bovaird and Daniel Jow’s gorgeous lighting design, which greatly increases the versatility and visual interest of the single set throughout the show. Lighting is key for the final moment of act one, when strands of bud lights help to prevent the portrayal of Melchior and Wendla’s physical intimacy from being quite so exposed in the close performance space.

Marcello Lo Ricco’s sound design is pristine, successfully avoiding the harshness that can come from amplifying vocals against a rock score. Choral work is particularly well blended, benefitting, of course, from the significant talents of the performers.

Rhiannon Irving shows a confident and mature hand in costume design, creating a wardrobe that is visually appealing, comfortably functional for movement and very nicely balanced between period and contemporary. The boys’ school blazers, each sporting a different colour trim, are particularly striking.

Freshly graduated from WAAPA, Ashley Roussety is ready to be a leading man on this, or any, stage. Tall and handsome, Roussety has a charismatic stage presence and an effortlessly natural singing voice. Roussety is completely believable as outgoing student Melchior, readily engaging audience affection in a moving performance.

Jessie-Lou Yates is equally engaging as Wendla, a girl perplexed by her blossoming sexual maturity. The contrast between Yates’ vocal power and her sweet youthful appearance is perfect for the show, and she conveys Wendla’s incredible naiveté with clear conviction.

Brent Trotter captures the inescapable angst of Moritz, whose throbbing sexual urges are defeating all his well-meaning attempts at repression. Trotter portrays Moritz’s unrelenting confusion as an almost physical pain. Not quite in full voice on opening night, Trotter nonetheless showed himself to be a singer of great expression and a performer of high emotional intelligence.

Cleverly symbolising the fact that all adults appear the same to these young people, a dozen or so characters are all played by the same two adult actors. Barry Mitchell and Olivia Solomons match the intensity of their co-stars, both also bringing a touch of wry humour to the reprehensibly controlling characters they play.

Henry Brett gives a wickedly magnetic performance as Hanschen, an attractive boy who is fully aware of the effect of his physical appearance on fellow student Ernst, played by Alex Thompson. The pair provides a welcome moment of levity amidst the drama of act two when Hanschen playfully seduces the quivering Ernst. Their sharing of the hand held microphone in duet “The Word of Your Body (reprise 2)” is inspired.

Further standouts amongst the ensemble company are Hannah McInerney as free spirit Ilse, and Jordon Mahar as lusty piano student Georg.

Playing for an all too short season, Spring Awakening should really be the sort of cult discovery that runs for weeks on end, adored by young people in droves. Fans of the show, most especially those who have only listened to the cast recording, should not miss this beautifully realised production.

Spring Awakening plays at Chapel off Chapel, Melbourne until 10 June 2017.

Photos: Belinda Strodder

Look at the old girl now, fellas. Mrs Dolly Levi, born Gallagher, is back on the Melbourne stage in a glossy, if somewhat scaled down, production of Golden Age classic Hello, Dolly!.

Back in 2002, Hello, Dolly! was an unfortunate low point in The Production Company’s short history. Dim lighting, uninspired choreography and a leading lady who hadn’t bothered to learn the words turned many serious musical theatre fans off the fledgling company at the time. Each of the flaws are well and truly repaired in this vastly superior production, the pristine quality of which is a ready measure of how far the company has come in the intervening years.

There is a degree of disappointment in the fact that this traditionally lavish show is shoe-horned into the Playhouse rather than the far grander State Theatre, and yet the relative intimacy of the venue contrasts strongly with the current main stage revival of My Fair Lady, the finer details of which are lost in the vast auditorium of the Regent Theatre.

The presence of a sizable contingent from Orchestra Victoria is usually a key attraction of The Production Company shows, so to have Jerry Herman’s revered score played by only 14 musicians is a missed opportunity. The chorus of only eight performers is a similar reduction from a full-scale production, although the tight playing space means that the stage still appears to be well filled with performers.

Director Gary Young capitalises on the delectable humour of Michael Stewart’s razor sharp book. Outdated sexist elements are brushed over with a wink and a smile, keeping the focus on the charming romantic aspects of the concise tale. Each and every performer carries themselves with the grace and style that befits a polished period musical.

One head-scratching misstep in direction is the omission of a song in act one. With Dolly’s arrival at Mrs Molloy’s Hat Shop, where shop assistants Barnaby and Cornelius are hidden from their Yonkers employer Mr Vandergelder, the slapstick comedy is about to reach a crescendo when all of a sudden a quick press of the fast forward button sees the action skip right over “Motherhood March” and Horace is leaving the store.

Choreographer Kristen King’s well-drilled choreography is clean and sharp. The “Waiters’ Gallop” is a clear high point, mixing physical comedy with fleet footed dance from the sensational male chorus. The full dance break of act one showstopper “Dancing” is a beautifully realised sequence.

The tight orchestra is heard at their very best under the exacting baton of musical director Vanessa Scammell. Likewise, the full range of vocal harmonies are expertly covered by the relatively small cast. In an unobtrusive touch, Scammell has the full company join the Waiters in singing cherished title number “Hello, Dolly!”.

While Shaun Gurton’s economical, well integrated design makes clean use of the available space and aids storytelling with the creation of various locations, it is the costume design of Isaac Lummis that really sparkles. The chorus graces the stage in luscious citrus pastels for “Put On Your Sunday Clothes,” with the women later changing to midnight blue and purple evening wear at Harmonia Gardens. Dolly begins in musk with fuchsia satin trim, and matching feathered hat, before changing to a gorgeous light purple dress decadently embroidered with masses of pink and blue forget me knots. Dolly makes a grand entrance to the Harmonia Gardens restaurant in a glittering gold mermaid-silhouette gown, finally changing to gleaming white for the matrimonially themed finale.

When Marina Prior first played Miss Adelaide in Guys and Dolls, it was a breakout from the soprano ingénue roles she had built her career upon. Her versatility now well established, Prior is an absolute natural as Dolly. Although Prior’s dialogue accent wanders slightly, her comic timing is superb. Best of all, Prior gives arguably the most beautiful rendition of Dolly’s songs ever heard from the stage.

Grant Piro bristles with Horace Vandergelder’s curmudgeonly cantankerousness, allowing just a teasing glimpse of the good heart underneath. A gifted comic actor, Piro allows the audience to forgive Horace’s sexist demands. Husband and wife duo Piro and Prior enjoy strong chemistry, and their comic skills redouble whenever their characters spar.

In a pair of utterly charming performances, Verity Hunt-Ballard and Glenn Hill bring out the full romantic chemistry of Irene Molloy and Cornelius Hackl. With a lilting Irish accent, Hunt-Ballard imbues Irene with a modest grace, and her singing is a joy to hear. Hill brings a fresh, sincere energy that endears the plucky character to the audience.

Imogen Moore is a find as adorable hat shop assistant Minnie Fay. An excellent singer and dancer, Nigel Huckle glows with energy as naïve yet enthusiastic youth Barnaby Tucker.

Dressed in a puffy hot pink gown that can probably ne seen from the moon, Alana Tranter shines as raucous romantic decoy Ernestina Money.

Lovers of traditional musical comedy are sure to enjoy Hello, Dolly!. A new generation of theatregoers are also sure to fall under Dolly’s spell.

Hello, Dolly! plays at Playhouse, Arts Centre Melbourne until 11 June 2017.

Man in Chair reviewed Bette Midler in Hello, Dolly! on Broadway.

Photos: Jeff Busby

Graeme Murphy’s Nutcracker does far more than tell The Story of Clara, celebrating the backstory of vision, passion and talent that formed the bedrock for our modern, 55-years-young company The Australian Ballet.

First staged some twenty-five years ago, Nutcracker – The Story of Clara now has a sentimental history of its own, over and above the vibrant history of ballet that plays out in the work’s rich narrative. Not seen on stage in Melbourne for eight years, the ballet has an extraordinary freshness and vitality, not to mention a dazzling, intricate beauty.

Murphy’s ingenious vision takes the bones of the traditional narrative of The Nutcracker and repurposes the music and characters for a journey through time. Instead of pampered children festively frolicking on Christmas Eve, bone-tired ballerina Clara struggles home with her shopping on a hot Christmas Eve before welcoming her dear Russian friends to her modest St Kilda apartment.

The multi-generational ballet features a healthy showing of mature-age dancers, who imbue the early scenes with tender warmth. Russian-born dancer Ai-Gul Gaisina, a member of The Australian Ballet since 1973, imbues Clara the Elder with a sense of guarded delight as the elderly ballerina revisits her glory days.

Having Clara played by three dancers, Murphy cleverly flags his concept for embedded memories by focusing much of the early work on matryoshka dolls. The memories and experiences of the younger are progressively stored and preserved inside the elder.

Before long, the party breaks up and Clara’s memories flood the room with giant Bolshevik rats and dancing snowflakes. Rising from her bed, Clara, the Elder has yielded the stage to Clara, the Ballerina, and the doctor has flipped his costume to reveal Clara’s Beloved Officer. Mere seconds after rising from the bed, Leanne Stojmenov dances a grand pas de deux with gallant partner Kevin Jackson. One of the clear highlights of the night, this glorious sequence is a slow burn, heightening the sense of romance by keeping the pair in constant close contact with each other.

The exquisite work of the corps de ballet as the undulating snowflakes is mesmerising in its precision and creativity.

Nicolette Fraillon leads Orchestra Victoria in an exacting performance of the very well known score, illuminating rich details with subtle shifts in tempo and emphasis. Harp work (sadly not credited in the program) is simply magical.

Act two features a cavalcade of images and scenarios, many beautifully recreated from Russian art. Clara, the Child studies ballet at the Imperial Conservatoire, before she and her classmates magically mature and subsequently graduate. At the height of her carefree happiness, Clara dances a joyous pas de deux with her Officer before joining him at a grand ball. This scene dissolves to a performance of The Nutcracker, in which Clara, as Clara, dances with the noble Nutcracker Prince of Jarryd Madden. This precision of this majestic, carefully calibrated pas de deux is distinguished by the radiant joy emanating from Stojmenov and Madden.

With the intrusion of war, and the tragic death of the Officer, Clara embarks on a world tour with the Ballet Russes, giving Murphy the opportunity to set the Egyptian, Spanish and Chinese dances in context.

The company ultimately arrives in Australia, giving a grand performance of The Nutcracker, before the final bittersweet dissolve back to the apartment of Clara.

The meticulous design work of Kristian Fredrikson is crucial to the success of the piece. Fluid dissolves between scenes maintain a breathless, dreamlike flow to the work. Costumes are both a tribute to the period and a gorgeous attraction in their own right. Working with original lighting designer John Drummond Montgomery, Fredrikson created a range of atmospheric colour palettes for the work. All of the various settings look truly grand on the vast State Theatre stage.

Lovers of dance who have no more than a vague memory of the power and beauty of Nutcracker – The Story of Clara are urged to revisit this seminal celebration of the rich history and heritage of ballet in Australia.

Nutcracker – The Story of Clara plays at State Theatre, Arts Centre Melbourne until 10 June 2017.

Photos: Jeff Busby

Zipping by in an incredibly brisk 15 minutes, not a note nor a word is wasted in 21 Chump Street, an astonishing example of economical writing.

As a swift and tasty sampler of the inimitable style of current Broadway master Lin-Manuel Miranda, the pocket-sized musical blends familiar musical theatre tropes with “hard hitting” American current affairs to hurtle through an easily digestible scenario that is surprisingly affecting.

At the heart of the musical’s success is a totally relatable lead performance from Jake Fehily as impressionable “chump” Justin Leboy, a lovable schlub who follows his heart not his head.

Based on an episode of short-lived, cult-favourite US television series This American Life, the musical was written for the June 2014 This American Life live show at Brooklyn Academy of Music. Audience familiarity with hit 1980s television series, 21 Jump Street (and subsequent movies) greatly aids the instant understanding of the story. Miranda pulls a swift one, however, by focusing on a harmless kid, conflicting our sympathies between the consequences of drugs and the injustice of an innocent victim. It’s a neat accomplishment, especially with the few words available to tell the tale.

Compounding the dilemma is the supreme likability of the young policewoman, Naomi, played by versatile young talent Olivia Charalambous. The sting unfolds without a villain, all in the name of the prevailing power of the war on drugs. Charalambous is perfectly cast, flipping easily between baby-faced faux high schooler and serious cop.

Director Byron Bache, expertly balances the twin sympathies of the two leads, showing not a trace of preference towards either party

Lauren Edwards is the “hard hitting” journalist, whose pretty salmon pink jacket belies her serious intentions.

Nicola Bowman, Stephanie Wood and Kai Mann-Robertson infuse Justin’s classmates with a knowing wink as they bop along energetically with the funky choruses.

On opening night, sound (Celine Khong) experienced a few difficulties, and lighting (Jason Crick) was underdone, but the space was used very well to convey both the classroom and the interview studio.

Helmed by Stephanie Lewendon-Lowe, a band of six musicians nimbly rocked out the unfamiliar yet completely catchy score as if they had been playing it for years.

Melbourne fans of Miranda will not want to miss the chance to see 21 Chump Street.

21 Chump Street plays at Chapel off Chapel until 18 June 2017.

Tickets to 21 Chump Street and Ordinary Days can be bought separately or as a package deal.

Photos: Ben Fon

Tracing the key moments in a pair of relationships, 2009 off-Broadway musical Ordinary Days furtively engages audience interest and affection in its four characters, illustrating the beauty to be found in the ordinary.

For a modern, character-driven musical, there is no better director in Australia than Tyran Parke, a proven master at illuminating the minutiae of human connections. Parke’s subtle, yet highly detailed direction brings the characters vividly to life. Even with only a relatively modest staging, the city of New York is also clearly on board as a vital fifth character.

Adam Gwon’s charming score is through-sung, coming close in style to a song cycle but with strong storytelling threaded throughout. Thirty-something couple Claire and Jason move through a turning point in their relationship, reaching a climax with Claire’s absolutely gorgeous final ballad “I’ll Be Here.”

Well-matched pair Brittanie Shipway and Matthew Hamilton are completely believable as Claire and Jason. Hamilton balances Jason’s slightly humorous edge with serious, sincere intent. Shipway grounds Claire’s potentially overwrought relationship anxiety with an underlying tension that is finally resolved in the character’s revelations in “I’ll Be Here.”

Twenty-something lost souls Deb and Warren meet by chance and pursue an unlikely friendship. Warren delivers the touching message of the show in the final song “Beautiful,” which both owes a debt of honour to Sondheim’s “Sunday” and also continues the heritage of the focus on the transformative power of art.

It is difficult to overstate the crackling charisma of fresh graduates Nicola Bowman and Joel Granger as Deb and Warren. To watch the pair in action is to watch the leading lights of tomorrow’s musical theatre stage. Bowman’s Deb is part wide-eyed kewpie doll, part tenacious terrier. Watching the character thaw towards unlikely new best friend Warren is a joy. Bringing to mind a young Bernadette Peters, Bowman’s singing is effortlessly superb and her comic timing is extraordinary.

Blessed with a gorgeous smile, Granger glows with magnetic presence, yet also brings a completely endearing vulnerability to Warren. With a sweet, pure singing voice, Granger is the ideal new age leading man.

Musical director Stephanie Lewendon-Lowe leads three fellow musicians in a polished performance of the score. The instantly accessible music is heard at its best, and is sure to win over new fans to Gwon’s writing.

Designer Sarah Tulloch makes clever use of floating gauze panels, which represent both skyscrapers and hanging works of art. Pale blue hues in the costume design tie in beautifully with the steely abstract background. Lighting designer Jason Crick ties the look together with temperate tones that reflect the mood of each scene.

Lovers of modern musical theatre are sure to cherish this welcome production of Ordinary Days.

Ordinary Days plays at Chapel off Chapel until 18 June 2017.

Tickets to 21 Chump Street and Ordinary Days can be bought separately or as a package deal.

Photos: Ben Fon