Brilliantly cast and expertly adapted, Into the Woods is set to be embraced as the rare stage musical to receive a big screen treatment that not only retains, but enhances its integrity, heart and musical splendour.

If the chief measure of success of a stage-to-screen adaptation is the experience it adds beyond that which can be achieved in a proscenium arch theatre, the movie of Into the Woods is a sure winner. Other such projects drown in the bloated excess and clumsy adaptations insisted upon by the folly of their original theatrical creators, whose egos are impervious to the realisation that their stage prowess does not necessarily translate to film. (2005’s The Producers is but one example of this).

There is an irony in Disney producing the film of a musical whose main theme tune (“Into the Woods”) was written to parody and subvert their catalogue of masterworks. The lack of Disney-fication overall was highlighted at the preview screening when the trailer for upcoming release Cinderella showed a far more pristine set of step-relations than the skimpily dressed, genuinely nasty step-family of Into the Woods.

In adapting his book of the 1987 musical, James Lapine has navigated the minefield of Disney executives, test audiences, fan expectations and budget constraints to produce a lean, focused script that preserves the dark psychological undertones and all the emotional beats of the original. The trims have been made so judiciously that it is almost impossible to begrudge the loss of a note or word.

One structural change is the absence of the Narrator, as flashbacks and close ups avoid the need for this stagy device. Viewers acquainted with the ending of the musical will understand the choice of character to provide the few lines of narration that are needed. Momentum is maintained in the first half by the removal of the company “Midnight” sequences, with the second half moving even more rapidly and dramatically after a very neat, brisk and rather spectacular segue between acts.

Rob Marshall, director of the gold standard of millennial musical adaptations, Chicago, is in peak form with Into the Woods. Marshall’s visual imagination takes us beyond the frame of the stage picture in countless clever ways, clearly placing the beloved fairy tale characters in an integrated, functional world. We see Cinderella on the steps of the palace, Jack climbing the beanstalk, Red Riding Hood in the wolf’s belly and the Giantess reaping her trail of destruction. Flashbacks even include a glimpse the “other story” that happened when “Bang! Crash and the lightning flashed.” Every decision of Marshall’s is perfectly considered and splendidly executed.

In addressing the second aspect that can derail a musical movie, which is the inability of the original/stage stars to scale their performances back from stadium-sized to camera-ready, Marshall coaxes entirely natural, understated playing styles from the supremely talented cast. Despite the largish cast, Into the Woods is essentially an intimate chamber musical of human drama, and close ups reveal layers of motivation and greatly enhance connection to the characters.

A 60-piece orchestra provides sumptuous accompaniment on a scale far beyond what could ever be heard in a theatre. Visual design is richly textured and intriguing without being distractingly flashy.

If the lack of Disney interference in the story’s darker moments is one welcome surprise, another is the exceptional quality of the cast. Rather than be lumbered with the type of starlets and studs that help greenlight films (Nick Jonas in Les Misérables anyone?), Marshall has assembled a highly experienced troupe that include distinguished stage stars, some of whom have nary a Hollywood credit.

Simon Russell Beale (Baker’s Father) and Frances de la Tour (Giantess) are the most acclaimed British stage actors of their generation. Joanna Riding (Cinderella’s Mother) is an award-winning West End music theatre star. The career of young Lilla Crawford (Little Red Riding Hood) was launched in 2012 playing Annie on Broadway. James Corden (The Baker) has a Tony Award for worldwide stage smash One Man, Two Guvnors; Christine Baranski (Cinderella’s Stepmother) has two. Tammy Blanchard (Florinda) was Tony nominated in How To Succeed In Business Without Really Trying, as was Billy Magnussen (Rapunzel’s Prince) for Vanya and Sonia and Masha and Spike. We have already heard Anna Kendrick (Cinderella) sing in Pitch Perfect, Johnny Depp (The Wolf) sing in Sweeney Todd and Meryl Streep (Witch) attempt to sing in Mamma Mia! (thankfully, her singing here is vastly improved).

Breakout star of the movie is chameleon-like movie actress Emily Blunt as The Baker’s Wife. Her open, delicately expressive face speaks volumes, and her gentle underplaying of the role draws the audience towards her and earns their devoted affection. Viewers who know the plot may start to feel slightly queasy as “Moments in the Woods” begins.

Larger than life stage Corden draws on his extensive television experience to dial it right down as The Baker. He and Blunt enjoy relaxed, natural chemistry and provide many delicious laughs.

Kendrick, a class act as ever, captures the yearning dreams of Cinderella, contrasting this with understated bewilderment and frustration when Cinderella discovers, as many of the characters do, that achieving what you wish is not necessarily for the best.

Amidst all the gentle performances, Streep comes across as the most forceful, a fact not helped by the swirl of CGI effects that accompany her entrances and exits. Still, she is tender and loving with Rapunzel, and the Witch’s horror at realising the consequence of fulfilling her wish scores a great laugh.

Crawford is delightfully forthright as Little Red, playing the innocently avaricious little girl in unblinkingly straight style. A big future in all aspects of musical comedy is envisaged. Crawford is well matched by characterful young actor Daniel Huttlestone (Gavroche, Les Misérables) as mournful soul Jack. As with the adult performers, these young stars achieve abundant empathy and humour through authentic characterisations and natural performances.

Baranski practically drips scorn and derision as the wicked Stepmother. Tracey Ullman, another potentially outsized performer, effectively conveys inner doubt and irritation as Jack’s exasperated Mother, setting up a lovely contrast when the character finally has financial means in the second half.

Hunky princes Chris Pine and Magnussen score a crowd-pleasing hit in “Agony” as the pair cavorts about a splashing waterfall as though they are shooting the cover of a soft-core romance novel. Only Johnny Depp is underserved by the concept for his role as The Wolf. Performing with the delectably devilish wink you would imagine, and singing perfectly well, Depp appears too human for the swallowing of Grandmother and Little Red to make much sense.

Music theatre lovers are set for an absolute treat in Into the Woods, as experience that is set to be replayed on home cinema for years to come. Whether there are enough of us in the world to make the film a hit is another question, as is the ever-present concern of whether modern audiences can cope with characters bursting into song.

See you at the multiplex.

Into the Woods will be released in Australia on 8 January 2015.

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Into the Woods official trailer:

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Anna Kendrick sings “On The Steps Of The Palace”:

Photos: Disney

With its first-rate ensemble cast intact, Donmar Warehouse’s acclaimed revival of Kevin Elyot’s 1994 comedy of gay manners My Night with Reg makes an effortless transition to the West End’s Apollo Theatre.

Recalling Haydn’s Farewell Symphony, in a way that is unavoidable for stories set during the onslaught of AIDS, My Night With Reg seduces with breezy humour before delivering some affecting, even devastating, blows.

A group of thirty-something university friends gather to laugh, cry, reminisce and lie about themselves, with the odd tell-all breakdown. The titular Reg is never seen, but is a sexual connection that binds the friends together, whether they all know it or not.

Peter McKintosh’s completely realistic set is slightly dwarfed by the grander scale of the Apollo stage, but is neatly framed by soaring panels of royal blue. The occasional fall of rain on the rear glass conservatory creates a cozy atmosphere for the single setting of Guy’s London flat.

Director Robert Hastie has drawn confident, natural performances from the cast, facilitating a familiar comfort and intimacy amongst the six men. Some of the dramatic elements in Elyot’s text are unexpected and unsettling, and Hastie neither provides pat solutions nor shies from the grim truth. The actions and choices of the characters provide plenty of food for thought, discussion and debate.

If there is a slight weakness in the design, it is that the progression of time is very difficult to detect. Relying solely on audience intelligence (which is, I suppose, not to be underestimated) and knowledge of the play, time moves forward by a couple of years at two points, but on neither occasion is there a change of costume or décor to give any hint about this.

The magnetic link that the group revolves around is the handsome and carefree John, played to perfection by charismatic actor Julian Ovenden. John’s reckless sexual proclivities and independent wealth are a throwback to the 1980s setting, a party that seemingly had to end sometime. In Ovenden’s highly capable hands, John is far more sympathetic and accessible than the entitled cad he may have been.

Jonathan Broadbent expertly captures the cheery façade that masks the brittle heartbreak Guy carries. Geoffrey Streatfeild deftly balances gregarious humour with tear-streaked anger and longing. The trio of John, Guy and Daniel (Streatfeild) have a camaraderie and shorthand that recalls the central trio of female best friends in Mamma Mia!.

Richard Cant gamely takes on the quirks of prudish bore Bernie, a man broken by the looming terror of HIV on the previously idyllic lives of the friends. Matt Bardock gives Bernie’s partner Benny a resigned air of acceptance of the unavoidable fate that most of the circle seem doomed to face.

In a breakout performance, reactive newcomer Lewis Reeves more than holds his own as good-natured local lad Eric, a youth whose informed caution and reserve represent the new wave of homosexuality at the time.

Sure to have been missed by scores of theatregoers in its soldout season at the Donmar, My Night With Reg is highly recommended viewing.

My Night with Reg plays at Apollo Theatre until 11 April 2015.

My Night with Reg was reviewed 7.45pm Saturday 17 January 2015

Photos [from Donmar Warehouse]: Jonah Persson

Mesmerizing and relentless, the world premiere season of Young Men by BalletBoyz garners much audience appreciation and leaves plenty of scope for interpretation and thought.

A co-production of BalletBoyz, Sadler’s Wells Theatre and 14-18 NOW, WW1 Centenary Art Commissions, Young Men is an entirely new modern dance work, with original score and designs. The piece is an ideal fit for the Sadler’s Wells venue and its devoted audience of dance lovers.

Choreographer Iván Pérez has created the work on the 11 male dancers of BalletBoyz, as well as two guest female dancers. Using a deliberately abstract, non-linear style, Pérez has conceived ten sections that cover facets of the training, experience and ongoing trauma of young men involved in war. There is no particular agenda or message being pushed; rather, the piece gives the audience the prompts and the space to think and reflect.

In “Desperate Disguise,” one of the female dancers portrays a woman going to the front to be with her man. The non-romantic nature of the overall piece is exemplified here, in that the woman is violently kept from her man by another pair of soldiers.

“Shell Shock” is a particularly effective section, in which the mental anguish suffered by a soldier is portrayed in the unrelenting physical contortions his body continuously forms. He is seen to be given comfort, but there are, of course, no easy answers.

The show is at its best when all 11 male dancers are in full flight. There is a strong sense of trust and innate communication between the men, as they run, leap and fall with a high level of abandon that would not be possible otherwise.

Keaton Henson’s score has a similarly abstract feel to complement the dance. There are snatches of melody, but more often the effect is that of a haunting soundscape, the deliberate use of repetition giving the piece a driving insistence. The music is expertly played by 14 musicians, who are housed upstage behind sheer panels that are often textured with projections.

Given the basic black box stage in use, Jackie Shemesh’s lighting is a significant and striking element of the production. Rows of side and overhead white lights show the dancers in stark relief or cast shadows and silhouettes. Dancers easily enter and exit from the inky blackness upstage. Carlijn Petermeijer’s dark-toned, comfortably fitting costumes adding to the air of quality of the production.

The World Premiere season of Ballet Boyz’ Young Men played at Sadlers Wells 14 – 18 January 2015

Young Men was reviewed 4pm 18 January 2015.

Photos: Tristam Kenton

Utterly hilarious, The Play That Goes Wrong is a classic example of the chaos that can be achieved by control.

Mischief Theatre Company has a massive hit on its hands with this wickedly ingenious murder mystery comedy. Bringing to mind act two of Noises Off, The Play That Goes Wrong is a riotous backstage farce that plays out on stage. The combination of spot-on send-ups of amateur theatrical types and hysterical physical comedy proves irresistibly laugh-out-loud funny.

When a show is written by three of its cast members (Lewis, Sayer and Shields), there is always the danger that the humour will be all self-indulgent in-jokes that were only funny in the rehearsal room. Thanks to strong direction (Mark Bell) and, presumably, lashings of talent, The Play That Goes Wrong is far more than a one joke wonder.

Part of the pleasure for the audience is discerning the various foibles of the various cast members of the Cornley Polytechnic Drama Society, who are doing their very best to stage a creaky whodunit entitled Murder at Havisham Manor.

Robert (Henry Lewis), playing the toffy, shady brother, copes well with improvisation but Chris (Henry Shields), the play’s director who is also starring as the detective, does not. As the doddery, silver-haired butler, Dennis (Jonathan Sayer) aids his memory by writing his more challenging words on his hand, but this does not mean he knows how to pronounce them.

As the preppy snob, Max (Dave Hearn) cannot help but sneak a grin and quick bow whenever he scores a laugh or clap. Max is also terrified of intimate human contact and a completely inexperienced kisser. Playing the corpse, Jonathan (Greg Tannahill) only has one big line, and cannot wait to get it out. Distracted stage manager Trevor (Rob Falconer) just wants to find his Duran Duran cd.

Expressing herself more like a quivering modern dance tragic than an actress, Sandra (Charlie Russell) plays the sultry leading lady, a role she loses to plucky stagehand Annie (Nancy Wallinger) after being knocked out. The resolve of the diva, however, should never be underestimated!

These character-based shenanigans could practically carry a show, but the physical mishaps, errors and disasters really raise the laughs and set the production apart. Performing stunt after stunt, that would take hours of preparation and stunt doubles on a movie, the cast demonstrate incredible skill, making the reckless action look simple. Best of all, the cast perform with such gusto and abandon that the entire affair seems convincingly spontaneous and inevitable.

Nigel Hook’s set design is a work of genius in terms of the sheer number of hidden accidents waiting to happen and for actually being safe when appearing so scarily dangerous. Roberto Surace’s costumes are a witty collection of the type of clichéd outfits a company with limited means would think highly suitable.

A distinctly British treat, The Play That Goes Wrong would, however, be most welcome for an Australian tour.

The Play That Goes Wrong has an open run at Duchess Theatre, London

The Play That Goes Wrong was reviewed 7pm 18 January 2015

As much fun for the dancers and musicians as the audience, Carlos Acosta’s Don Quixote is like being present at one big opera house party.

A work of unbridled joy, the festive music inspires exuberant merriment from the dancers, while conversely their energy and passion seems to motivate the orchestra to ever more spirited playing.

Having premiered only last season, the production has a distinctly traditional feel. Clearly, Acosta did not set out to radically transplant the story or drastically alter Petipa’s original concept and choreography. Thankfully, Tim Hatley’s designs eschew time-honoured crinkly painted backdrops in favour of sturdier and more creative sets. At the end of the prologue, we are teased with simple flats well downstage before they fly out to reveal the vast, merry town square flanked by tactile plaster and tile houses. Act two’s gypsy camp is found in an ominous forest, which segues into a delicious, surreal sea of scarlet daisies as Don Quixote dreams of Dulcinea. In act three, the stage is filled with the vast grey brick interior of the tavern, before magically reverting to the town square for the wedding festivities.

A match made in heaven, Steven McRae and Iana Salenko work together as if celebrating a decade-long partnership. The pair shares more than the same hair colour and very similar height, both dancing with utter confidence while radiating the sheer pleasure of their love of dance.

Blessed with a beaming smile, Salenko conveys an instantly likable and engaging stage persona. Neatly petite, yet evidently possessing rock-solid core strength, Salenko leaps with vigour while retaining an expression of composed grace. She maintains a serene presence in the dreamscape of act two while giving a virtuosic display of solo dancing; on a stage filled with some two dozen ballerinas, Salenko clearly wears the crown.

In peak form, McRae moves with characteristically nimble speed and astounding agility. In the act one finale, the length of his one-handed frozen lifts of Salenko draws audible gasps. An excellent actor as well, McRae immerses himself in the raffish character of Basilio, conveying a thoroughly charming allure.

In the final minutes of the ballet, Salenko and McRae’s solo work becomes increasingly thrilling. It seemed that even the gathered ensemble were just as happy as the audience to watch the stunning display.

Gary Avis captures the confused but well-intentioned ramblings of Don Quixote. Michael Stojko is a jolly presence as the faithful Sancho Panza.

Bennet Gartside is a dandy delight as preening peacock Gamache.

If there is a particular element of Acosta’s personal style in the choreography, it would seem to be in the Matadors. Tall and broad shouldered, these men move with the kind of masculine power that Acosta exudes. As famous matador Espada, Ryoichi Hirano does a particularly fine job with exhibiting the requisite masculine strength and stature. Hirano is more than capably partnered by Mayara Magri, giving a vivacious performance as Mercedes.

Hatley’s costumes increase in jewel tones as the evening progresses. The matadors practically sparkle, the floral can-can skirts of the gypsies are striking, and Kiri and Basilio’s wedding attire is pristine. A highlight of lighting designer Hugh Vanstone’s work is the glorious sunset he paints throughout act two.

Esteemed Maestro Martin Yates maintains effortless control over the Orchestra of the Royal Opera House as they bring out the rich colour and rhythms of Minkus’ score. Having arranged and orchestrated the score, Yates has an intimate and invaluable familiarity with the music. Special mention for the rapid castanet and delicate tambourine work of the percussion section.

The Royal Ballet’s Don Quixote plays again at Royal Opera House 21, 22 January 2015

Don Quixote was reviewed 7.30pm 19 January 2015

Photos: Simon Parris

An artistic and vocal triumph, Royal Opera’s brand new production of Andrea Chénier is distinguished by its current starry cast, but is sure to remain a cherished production in the long term based on its sumptuous design and carefully considered story telling.

While the presence of über-tenor Jonas Kaufmann guarantees world attention and sold out houses, Royal Opera has not stinted in full company casting, bolstering Kaufmann’s presence with first-rate, well-chosen colleagues. The winners in this arrangement are the audience members, who have the chance to hear Giordano’s increasingly-rarely performed opera sung with uniform beauty and power.

Director David McVicar’s new production takes on an eerily timely quality given the recent unrest in France. Stirred to action, crowds of people take to the streets to seek justice, their message strewn across graffiti-laden streets and makeshift signs.

Using the traditional time and place of the opera, McVicar stages a brisk, but telling, snapshot of the social divide that led to the French Revolution, before elaborating on the subsequent machinations of the new regime under the rule of the people. The relatively elaborate narrative of the opera is told with crystal clarity under McVicar’s meticulous direction, creating stirring drama and swoon-worthy romance.

As the curtain rises, the most striking aspect is the utterly gorgeous scenic design of Robert Jones. The Winter Garden at the Château Coigny is a court of wonders, graced by multiple glistening crystal chandeliers and golden furniture. The crowning touch is the three rear decorative grottos with operational fountains. Liveried servants toil about thanklessly on one of their last days of oppression.

Costume design Jenny Tiramani outfits the garden party guests in a parade of precious powdered pastels. If design can have an “arc,” in the same way as characters and plot, the spun confection of aristocratic elegance gives way to a sea of grittily patriotic reds and blues, before the final stage is one greys and blacks. The large set pieces travel through each act as part of this cleverly conceived design arc.

Under the inordinately skillful baton of Maestro Antonio Pappano, Giordano’s music is heard in all its sublime glory. Pappano’s painstaking knowledge of classic scores plays out here in a thrilling performance that expertly brings out the full range of dynamics and expression in the music.

His luxurious tenor in absolutely superb form, Kaufmann gives a highly memorable performance as the titular poet, a man unwittingly swept into a charged political arena. McVicar highlights Chénier’s position as an observer by having him downstage through the frivolous festivities of act one, perhaps indicating that the sensitive poet is aware that the party will be over all too soon. Looking every bit the dreamy romantic lead, with thick curly hair and glossy dark frockcoats, Kaufmann immerses himself in the role with quietly focused (rather than showy) acting.

Demonstrating exacting preparation and divine skill, Kaufmann thrills with Chénier’s big arias “Un dì all’azzuro spazio” (heard in his Australian concerts this year) and “Come un bel dì di Maggio.” A particular thrilling quality on display is his ability to soar through a rapid crescendo on a high note. The darkly burnished tone of Kaufmann’s middle register proves an ideal fit to the dramatic elements of the music. Rousing vocal fireworks aside, Kaufmann grounds his work in the authentic, human spirit of the role.

As the fallen woman Maddalena de Coigny, Dutch soprano Eva-Maria Westbroek is a sterling partner for Kaufmann. Westbroek’s gently voluptuous soprano quivers with emotion as she takes the character from carefree girl to desperate, love-struck woman. Particularly clear is the moment Maddalena falls in love with Chénier, as she gazes upon his forced poetry reading at the garden party.

In a particularly masterful moment, Westbroek heightens the beauty of “Mamma morta” by keeping herself completely still. Westbroek more than holds her own in the romantic duets with Kaufmann, the pair finishing the opera on a divine high akin to the final pas de deux of a lead ballet pair.

Also in pristine form is Željko Lučić, as insurgent servant turned popular revolutionary Carlo Gérard. Lučić’s baritone pours forth with unwavering clarity, and he matches the tone of naturalistic acting with an unshowy characterisation of a man who comes to have everything but that which he most desires.

Elena Zilio has a charming cameo as the selfless Madelon.

Although singing te role perfectly well, Denyce Graves seems altogether far too glamorous as mulatto servant Bersi.

Rosalind Plowright delights as Contessa de Coigny. It is a thrill to see redoubtable bass Peter Coleman-Wright as Pietro Fléville.

Renato Balsadonna’s preparation of the Royal Opera Chorus is faultless.

The Royal Opera’s Andrea Chénier plays selected dates at Royal Opera House until 6 February 2015

Andrea Chénier was reviewed on opening night, 20 January 2015

Andrea Chénier live in cinemas, as part of the current Royal Opera House Live Cinema Season, will be seen on 29 January 2015 and then around the world.

Photos: Simon Parris

If someone that young and beautiful needs travel up, up, up to the Heaviside Layer then I am afraid that there is no hope left for me.

Apparently known for her previous feline incarnation as a Pussycat Doll, Nicole Scherzinger may be younger and prettier than the traditional diva playing Grizabella, but boy can she sing. In a production that’s already pretty high volume, Scherzinger’s piercing belt is rather awesome, especially her rock solid high notes in the climactic “Touch me,…” finale of perennial hit “Memory.”

Cats is back, whether we wanted it or not. And while it easy to be cynical about a bunch of dancers prancing about in legwarmers in a single-set show with no storyline, there is no denying that this is as lavish and epic a staging of Cats that could possibly be desired. For a season that was originally going run 12 weeks, the set design/decoration is really on a massive scale, with the set stretching well beyond the proscenium arch and string of festive coloured lights strung up throughout the auditorium. Compared to its original home at the original New London Theatre, this London Palladium staging is surely the biggest production of Cats that London has seen.

Original Designer John Napier has returned, and according to the number plate on the car, this is his 70^th design for record-breaking musical. Updated elements include projected animated clouds on the rear screen and improvements to the magic of the journey to the Heaviside Layer.

To freshen up proceedings, Andrew Lloyd Webber has made some alterations to his score. The dance break for Jennyanydots’ beetle tattoo, in “The Old Gumbie Cat,” has been re-written and extended as a fabulous tap number for Jennyanydots and the beetles. Almost all of the Rum Tum Tugger’s song is now sung about him by the other cats, with Rum Tum Tugger (Antoine Murray-Straughan), now in dreadlocks and bling, just contributing a rap break in the middle.

“Growltiger’s Last Stand” has been re-conceived in a groovy jazz/soft shoe style. Disappointingly, the duet between Growltiger and Griddlebone has been excised completely. This reduction, coupled with the very basic mast and sail for Griddlebone’s ship, makes this once great section fall flat.

Director Trevor Nunn and associate director/choreographer Gillian Lynne have revisited their masterwork. An interesting development in the time since Cats premiered, and a good reason to re-visit the show, is the proliferation of training courses for young performers. Music theatre performers once had talent and passion, now they also come fully trained. Along with the quality of the singing in this production, the ability of the ensemble to create quirky, interesting characters is very noticeable and adds to the overall quality on show.

David Hersey’s lighting is practically a show in its own right.

Given the wildly varying quality of lyrics in modern musicals, it is striking to hear again just how beautiful, intricate and satisfying T. S. Eliot’s poems are in these songs. Unlike his later shows, which focused on repetitiously recycling of a small number of tunes, Webber’s score features an abundance of melodies and is certainly one of his very catchiest.

It is difficult to select highlights from the cast given the uniform quality, energy and commitment. Nicholas Pound exhibits a superb operatic tone as Old Deuteronomy. Callum Train is an exciting, polished young performer as Munkustrap. Joseph Poulton dances up a storm as Mistoffelees.

The prospect of a young theatergoer seeing Cats as their very first is almost too magical to imagine.

Cats plays at Palladium Theatre, London until 25 April 2015

Kerry Ellis plays Grizabella from 9 February 2015

Cats was reviewed 2.30pm 21 January 2015

Photos: Alessandro Pinna

A sure contender for one of the top musicals of all time, Miss Saigon steps out of the shadow of its older sibling to be seen as an acclaimed and adored masterwork in its own right.

London is currently benefitting from the Australian music theatre model, where shows are so much better when they are brought back afresh rather than dragging on ad infinitum. Both Miss Saigon and Cats, sensational musicals to begin with, are currently blessed with cutting edge stagings and top class casts.

This glossy production utilizes the 2002 design concept of Adrian Vaux (further enhanced here by designers Totie Driver and Matt Kinley), seen in Australia in 2007. There is ongoing talk of Miss Saigon becoming a movie, but on stage it is already as close to a movie as a piece of music theatre can be. Aided by Bruno Poet’s painterly lighting, the scenes spin, dissolve and crosscut with all the speed, excitement and flexibility of a movie. Coupled with Laurence’s Connor’s serious, grounded direction, this is adult theatre that is gritty, thought provoking and highly affecting.

The original composition work of Alain Boublil (book, lyrics), Claude-Michel Schönberg (concept, book, music) and Richard Maltby Jr (lyrics) has been subtly tweaked and updated by American lyricist Michael Mahler. Ellen (superb Australian actress Tamsin Carroll) has a new song, the lovely “Maybe,” which is more of a heartfelt ballad than the beltable showstopper “Now That I’ve Seen Her.”

Mick Potter’s sound design aids to the thrilling feel of the show. The incoming flight of the helicopter has now been enhanced with whooshing wind on the audience as well as the travelling sound effect. The actual onstage helicopter is incredible, and is surely the most impressive it has ever been. The sight of Chris half hanging out of the chopper as it careens away is heart stopping.

Staging elements aside, Connor’s meticulous direction is the true star of the show. Acting throughout the show is performed with actors directly facing each other, rather than cheating front, and this adds significantly to the immersive, filmic feel. Sidestepping the mawkishness of instant love, Connor presents Chris and Kim’s whirlwind love affair as inevitable and highly believable. It helps to have such a masculine leading man for Chris (Alistair Brammer) and a divinely innocent cherub, who can sing like an angel, as Kim (newcomer Eva Noblezada).

Ensemble direction is extraordinarily detailed, with the entire company always having a strong and unique purpose. The action on the street in Bangkok is hilarious – watch out for a gay Mormon missionary, as well as a girl who can do incredible things with a ping-pong ball!

At this performance, the role of The Engineer was played by highly accomplished Filipino-German performer Romeo Salazar. It is highly unlikely that the majority of the audience would have had any idea that Salazar was not the regular star. Currently filling in s Kim’s cousin Thuy, Ethan Le Phong has a particularly lovely singing voice. Rachelle Ann Go’s talent and sultry looks ensure that the role of Gigi is not lost as the show progresses. Hulking Hugh Maynard is a powerful presence as John.

Thank you to Cameron Mackintosh for bringing back Miss Saigon. Next stop, the rest of the world (again).

Miss Saigon has an open run at Prince Edward Theatre, London

Miss Saigon was reviewed 7.30pm 21 January 2015

Photos: Michael Le Poer Trench; Michael Murphy

Prolific theatre director Jamie Lloyd presents an unrelenting, devilishly dark take on Stephen Sondheim and John Weidman’s revered, if troubled, musical fantasia of despair, dander and death.

In a decaying, abandoned amusement park, the ghoulish proprietor beckons the assassins, a gun for each of them in his coat pockets. The Menier space is configured with coloured rows of bleachers on two sides, between which the company of 16 remain as they come in and out of the collage of vignettes.

Soutra Gilmour’s relatively simple design features a couple of macabre, oversized amusement park remnants. A clever touch is the use of a bumper car for Samuel Byck’s second tirade (which is set on a freeway to the airport). Gilmour’s costumes, along with the hair and make up design of Richard Mawbey, keeps the performers very in close in appearance to the real life characters they portray.

Lighting designer Neil Austin cleverly uses the strings of fairground light globes to create flashes to accompany gunshots. Austin draws the eye along the long playing space, and creates eerie mood through use of shadow.

Chief amongst Lloyd’s accomplishments is the extent to which the lead performers remain so entirely in character throughout the show. It may sound like an obvious point that should just be taken for granted, but it is all too easy for the principal characters in Assassins to meld into the group when they are not in the spotlight. Here, each character is instantly recognisable from the moment the cohort enter, and remains so throughout.

Lloyd keeps the momentum flowing from scene to scene, holding back almost of the applause for the final bows. Avoiding any possibility of glorifying the assassins, Lloyd ensures that the violent punishment of the death sentences is clearly conveyed. There is little levity in the piece, save for the deliciously vapid humour of Sara Jane Moore. The use of a puppet for Moore’s bratty child is a cute touch. Chris Bailey provides some neat choreography, particularly for the five ensemble members.

Musical director Alan Williams leads a tight band of eight musicians, who deftly perform the wide range of musical styles.

The 2004 Broadway version is presented here, with the Balladeer and Lee Harvey Oswald played by the same actor. Jamie Parker neatly underplays the Balladeer, keeping him strictly as a gently amused observer, similarly capturing the pained confusion and bewilderment of Oswald.

Broadway star Aaron Tveit is a classy presence as John Wilkes Booth, singing sweetly and oozing charisma as the vain, desperate killer. Catherine Tate provides many welcome laughs as addled housewife Moore.

Simon Lipkin drips menace as The Proprietor, skillfully providing additional roles such as several of the unfortunate presidents and even the live voice of the radio.

Carly Bawden gives a polished performance as icy nutjob Lynette ‘Squeaky’ Fromme. Mike McShane effectively portrays the weary defeat of Samuel Byck, impressively holding back from overdoing his two big monologues. Stewart Clarke, as pained immigrant Giuseppe Zangara, and David Roberts, as oppressed labourer Czolgosz, give nuanced, focused performances.

Both Andy Nyman as Charles Guiteau and Harry Morrison as John Hinckley expend a little too much manic energy and movement in their performances, putting their work slightly out of focus with their castmates.

Melle Stewart provides a classy cameo as anarchist Emma Goldman, and joins Marc Akinfolarin, Adam Bayjou , Greg Miller Burns and Aoife Nally in providing strong support as ensemble members.

Assassins is playing a sold out season at Menier Chocolate Factory, London until 7 March 2015

Assassins was reviewed 8pm 22 January 2015

Photos: Nobby Clark

As melodious as it is heartbreaking, Kander and Ebb’s The Scottsboro Boys is a brilliantly conceived combination of upbeat song and downbeat drama.

Having transferred to the West End after a sold out 2013 season at the Young Vic, The Scottsboro Boys can now be considered more successful in London than in New York, where it played a total of only 78 performances on Broadway in 2010. This raises the question as to whether American audiences found it too difficult to smile and clap about a tragedy that should never have been allowed to occur.

In presenting the true story of nine black youths falsely accused of rape in 1931, the musical draws on the unique conceit of an inverted black and white minstrel show. The performers are black, and they portray a smattering of white characters using broad, exaggerated stereotypes. The use of minstrelsy means that the painful story is punctuated with high energy, toe-tapping song and dance, engaging the audience and breaking their hearts all the more.

John Kander and Fred Ebb’s music and lyrics are a marvelous pastiche of soaring gospel and temperate spiritual music, seasoned with the tambourines and tap shoes of minstrels. The result is a score as instantly accessible as an audience could ever be grateful to hear. The songs rank with the best in the Kander and Ebb canon, and have the added bite of the social commentary that elevated numbers such as “If You Could See Her” from Cabaret. One of the best here is “Southern Days,” which begins as an exquisite Negro spiritual, then segues into darker lyric variations.

David Thompson’s concise but powerful book ensures that the dramatic story is grounded in realistic scenes between the big musical numbers. The central injustice is so incomprehensibly unfair that it is just presented in a brisk, matter of fact way rather than trying to explain or justify it.

Multi-talented director/choreographer Susan Stroman really excels herself here in terms of creating a unique piece of theatre. Energy levels are sky high, and company dance numbers are as thrilling as they are inventive. Generally more at home with a traditional book musical, Stroman has shaped The Scottsboro Boys as a true concept musical, in which all the elements support each other to the greater good of the story.

Displaying her expertise with props, Stroman tells the entire story with just a set of chairs. This exposes the content and the cast, which are both more than up to the scrutiny. Crisp comical shadow puppetry illustrates Haywood’s courtroom ditty “Make Friends With The Truth.” A whiz with tap, Stroman stages a terrific tap trio in “Electric Chair,” in which youngest cast member Keenan Munn-Francis is particularly impressive.

Veteran actor Julian Glover brings a distinguished and wry presence to the role of The Interlocutor. Dawn Hope is a gracious, sympathetic onlooker as the silent character of The Lady, who is eventually shown as representing racial activist Rosa Parks.

The London is season is anchored by a superlative lead performance from Brandon Victor Dixon as indomitable prisoner Haywood Patterson. A magnetic, charismatic actor, Dixon fully engages our sympathy and affection for the noble Haywood, giving a performance that is all the more compelling for his gentle, understated approach. Dixon’s singing style is also tender, almost sensuous at times, and is an absolute pleasure to hear.

The entire cast are true triple threats, who are expending their maximum possible performance energy. If the show had begun again from the start as soon as it ended, I would have been absolutely delighted.

The Scottsboro Boys plays at Garrick Theatre, London until 21 February 2015

The Scottsboro Boys was reviewed 7.45pm 23 January 2015

Photos; Jonah Persson

Divine performances from the lead dancers elevate an otherwise elegant but somewhat lackluster ballet.

Tchaikovsky’s opera Eugene Onegin has enjoyed a healthy profile of late with new productions at Met Opera and Opera Australia, as well as further seasons of Bavarian State Opera’s 2007 staging. The opera is a classy affair, portraying heartbreak and unrequited love on a grand scale. It even contains some wonderful dance music. Unfortunately, none of this is used in John Cranko’s ballet.

Cranko’s choreography goes a long way to expressing the very lyrical sentiment of the opera, itself based on a novel by Alexander Pushkin. The difficulty with using this story as the basis for a full-length ballet is that the absence of a traditional boy meets girl love story means a scarcity of pas de deux. When the grandest pas de deux within the first two acts is a dream scene, there is little scope for true passion between the leads. There is a poetic beauty to unrequited love, but it is very restrictive to convey in dance. Ultimately, the ballet comes across as rather slight, save for one final, very moving pas de deux.

Tchaikovsky’s music, as selected by Cranko and his original orchestrators, is reliably lovely but undistinguished overall. Conductor Dominic Grier maintains very safe, sedate tempi. The Orchestra of the Royal Opera House plays with requisite sweetness, but the restrained performance is, for the most part, lacking in oomph.

While the lack of opportunity for pas de deux is frustrating, the ballet provides plenty of scope for acting in the story arcs of the lead characters.

Tatiana, danced by Marianela Nuñez, grows from bookish, love-struck country girl to mature, gracious Princess. With acting skills to match her extraordinary dancing, Nuñez conveys as much of Tatiana’s hopes and dreams through her face as her body, and appears quite overcome with emotion at the end of the night.

Eugene Onegin, danced by Thiago Soares, is a first seen as a brooding, aloof young man, whose reckless petulance goes on to have deadly consequences. He is later left heartbroken, doomed to live in regret for his earlier capriciousness. Soares’ tall, handsome, broad-shouldered appearance is an asset to the role, and he easily captures the noble carriage of the prepossessed young Onegin. Soares becomes completely immersed in the character, his incredible dancing becoming a natural expression of Onegin’s journey.

Onegin’s cavalier attitude is established in an early solo, danced with effortless confidence by Soares. As Nuñez floats back and forth en pointe, Tatiana watches, falling in love. When the anguished Onegin later recalls this moment, a corps of six dancers recreates Tatiana’s serene floating. Soares delivers an even more thrilling solo in act two as Onegin works himself into a frenzy before the duel.

Nuñez and Soares are superb together in the all too brief “mirror” pas de deux, clearly conveying the youthful fantasy of wide-eyed Tatiana and her dashing beau.

The highlight of the evening, however, is the pair’s final pas de deux, when the tables are turned and it is Onegin longing for Tatiana. Unlike the showy finales of romantic ballets with happy endings, this final piece is all about the characters’ disappointments and regrets. Finally having the chance to dance together again, Nuñez and Soares break every heart with the exquisite longing and sorrow expressed in their dance. The ability to physically convey all this emotion is far more challenging than just dancing beautifully, and the pair shows themselves to be more than up to the challenge.

As Onegin’s friend Lensky, Vadim Muntagirov has a nicely contrasting pair of solos, first showing Lensky as a joyful, carefree young man when he is romancing Tatiana’s sister Olga, then as a broken, despondent man before the duel with Onegin. Muntagirov easily portrays the full range of feelings, and his dancing is an absolute pleasure to watch.

Akane Takada dances Olga, showing herself to be a dancer of effortless grace and radiant beauty.

Ryoichi Hirano is a strong, noble presence as Prince Gremin, creating a noticeable difference between the younger, inexperienced Prince and the older, more self-assure man. As with the other leads, Hirano’s utter confidence with his dancing allows him also concentrate on acting the role, a combination that serves the overall performance to great effect.

Even the corps has an acting assignment, which they fulfill superbly, first playing effervescent country folk then refined members of high society.

Jürgen Rose’s sets are on a suitably epic scale, but their construction looks quite dated, particularly coming straight after the glossier production of Don Quixote. Rose’s costumes progress from autumnal to winter tones, with Tatiana’s progress through society very clearly charted by her costumes and the costumes of all those around her.

Onegin may not be the perfect full-length ballet, but with the right cast, as on this evening, there is a great deal to admire.

The Royal Ballet’s Onegin plays selected dates at Royal Opera House 27 February 2015

Onegin was reviewed 7pm 24 January 2015

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Photos: Simon Parris

A concept that has all of the ingredients for a thrilling night falls surprisingly and disappointingly flat in this touring homage to king of pop Michael Jackson.

Perhaps the State Theatre is too large and too sedate a venue to accommodate a night of rock, but the show just does not really travel across the footlights to electrify the audience. While the lively male dancers are generally more fun to watch than the females, the touring cast seems to lack interest and energy overall. A couple of audience interaction numbers give the show a brief lift, but overall it is a fairly passive viewing experience.

It is a mercy that the show is not a tedious “narrative concert,” with only few moments of spoken dialogue throughout the night. Overall, this is the story of the birth and growth of a particular form of music, not the story of the life of Michael Jackson. The songs are presented roughly in order of original release dates, starting with the cute tunes of the Jackson Five, moving into disco and then into Jackson’s own distinct sound.

The main attraction is to hear the classic songs of Michael Jackson and the Jackson Five, and the band of seven musicians certainly recreates the songs with flair. The half dozen vocalists in the show are clearly talented, but, in trying to match the studio sound, the sound design muffles and processes their singing to a quality below what is hoped for at a live concert.

Production elements are suitably glitzy, with lights (Nigel Catmur) and video projections (Colin Rozee) creating constant visual interest. The incredible array of costumes (Rob Jones, Catherine Teatum) is a highlight, with the cast changing outfits every two or three songs. Lighting, projections and costumes complemented each other to create a wide range of places, times and concepts.

Australian Mig Ayesa makes a welcome appearance back on his home turf, delivering a couple of heartfelt ballads. With a knowing twinkle in his eye and a spring in his step, Ayesa is one of the few performers whose energy carries across the cavernous auditorium.

Fellow Australian Prinnie Stevens is in strong voice, but there seems to be something amiss in having a female singer performing so much of what is a male catalogue of songs.

Australian music theatre performer Peter Murphy has an impressively strong singing voice that is a pleasure to hear. Murphy looks somewhat out of place on stage next to the more rock/pop-friendly performers, particularly since he mostly only has very plain costumes to wear.

The audience reacts most strongly to singer Sean Christopher, who appears on stage in full Michael Jackson costume and hair. This kind of direct connection to the legendary performer is what excites the fans, as opposed to just hearing the songs being sung.

The evening ends with classic songs “Billie Jean” and “Thriller” before a bit of a megamix of hits. Considering the fact the fact that “Thriller” is the title song of the show (although the title could be referring to the album “Thriller”), the performance of this classic is not a patch on the highly memorable, distinctive dancing of the iconic original film clip.

For diehard fans of Jackson’s music, the show provides a chance to hear the music expertly played.

Thriller Live plays at State Theatre, Melbourne Arts Centre until 8 February 2015, before playing in Sydney and Auckland.

Taking the sort of bold leap seldom, if ever, seen from the national company in recent years, Melbourne Opera proves they have the resources, talent and audience support to successfully stage rarely seen German opera Der Freischütz. This boldness has been rewarded with a thrilling performance of sterling musicality that gives the appreciative audience plenty to enjoy. Upon hearing the melodious, stirring overture, it is clear that Der Freischütz contains wonderful, engaging music. Sung in English, with English dialogue, the characters and storyline are crystal clear, meaning that lack of audience familiarity is no impediment to easy accessibility of the piece.

1821 opera Der Freischütz, with music by Carl Maria von Weber and libretto by Friedrich Kind, was a great success in its day, inspiring, amongst others, young Richard Wagner. An intriguing blend of heightened paranormal elements, sweeping romance and folksy charm, the story focuses on Max, the Marksman, who must win a shooting contest to win the hand of fair Agathe. In frustration at his poor form, Max accepts magic bullets from the sinister Caspar, who is looking for a soul to substitute for his own, which he has sold to the devil, Samiel.

Director Suzanne Chaundy plays the supernatural melodrama straight, wisely avoiding a lighter, tongue-in-cheek touch, which would have completely undermined the drama. Chaundy’s ingenious concept for the setting updates the action from the mid-1600s of the Thirty Years’ War to the time of World War I, when the power of tradition and superstition are still prevalent in small town life, and when the modernist movement of Expressionism was beginning.

Set designer Christina Logan-Bell and costume designer Daniel Harvey have clearly worked together closely with Chaundy to create a unified vision of shadowy terror. Logan-Bell’s designs contrast churning spirals and sharp peaks, with the black, white and grey palette completely reflected in Harvey’s costumes. Set construction, by Greg Carroll, is impressively solid. The costumes, although looking very effective as a whole, suffer somewhat from budget constraints, meaning that there is a range of styles and periods on show (for example, the three bridesmaids do not match each other). Inserting interval halfway through act two, the second part opens with the opera’s iconic scene of dread: the casting of the magic bullets amidst the swirling spirits of Wolf’s Glen. This is where video artist Zoe Scoglio’s projections come to the fore, as Max is visited by the spirit of his mother and by an apparition of Agathe, and Samiel is seen as a grasping, menacing shadow. Scott Allan’s excellent lighting adds significantly to the sinister tone of this scene. Conductor David Kram elicits first-rate, spirited playing from Melbourne Opera Orchestra, strongly underpinning the quality of the evening. The presence of three French horns is a luxury, which is particularly appreciated in the overture and in the Wolf’s Glen scene.

Chorus preparation, by Raymond Lawrence, is perhaps the best heard to date, with a rich, harmonious sound pouring forth the stage. The Melbourne Opera Chorus also neatly performs Miki Brotzler’s choreography, with the male chorus particularly impressing with their sharp, uniform moves in the famous “Hunter’s Chorus.”

Tenor Jason Wasley is a noble, sympathetic Max, expressing the character’s emotional turmoil is a nicely underplayed performance. In excellent voice, Wasley sings the role with flair, scoring particularly well melancholic arias such as the gorgeous “Through woods and fields” of act one. Likewise, Sally Wilson gives a tender, endearing portrayal of Agathe, her serene beauty creating a charming stage presence. Wilson sings with heart rending sweetness, providing lovely moments such as act two’s “Low, low sacred words” and act three’s prayer “Though clouds obscure, still shines the sun in radiant sky.” As far as love stories go, the two leads spend little stage time together, not even sharing a scene until halfway through. Wasley and Wilson successfully portray the desire and longing that establishes and maintains the central romance of Max and Agathe. Experienced bass Steven Gallop conveys a malevolent presence as the driven Caspar, shading the role with the darkest aspects of his vocal and facial expression.

As Agathe’s cousin Ännchen, Andrea Creighton is an absolute delight, raising the comic energy of the show while still respecting the natural performance style of the cast. Her sparkling rendition of “My deceased cousin had a dream” provides some much needed levity as the dramatic story nears it conclusion.

Baritone Michael Lampard practically steals the show before it has scarcely begun, energetically delivering Kilian’s infectious mocking song “Let him gaze on me as king.” Further solid support comes from Manfred Pohlenz as Cuno, head forester and Agathe’s father, Adrian McEniery as Prince Ottokar and Roger Howell as the all-important Hermit, whose sage advice drives the happy ending. Opera lovers, particularly those tired of endless re-runs of chocolate box favourites, are strongly encouraged to grasp this opportunity to experience Der Freischütz.

Der Freischütz plays again at Athenaeum Theatre, Melbourne on 5 February and 14 February 2015, and plays Alexander Theatre, Monash University on 13 March 2015.

Melbourne Opera have listed the following operas for their 2015 season: June: Rossini’s The Barber of Seville September: Donizetti’s Maria Stuarda October: Gilbert & Sullivan’s HMS Pinafore

Photos: Jodie Hutchinson

A classy concert presentation with plenty of polish, Harvey Milk the Opera proves to be a timely, absorbing, affecting piece.

**check back later for images**

The perfect match of Milk and Midsumma is heightened with the extra layer of relevance achieved by staging this political opera at St Kilda Town Hall. The venue has a grandeur far more striking than any theatrical backdrop, and Brendan Jellie’s lighting enhances the visual appeal of the textured walls beautifully.

With a compelling mix of passion, conflict and tragedy, the story of outspoken politician Harvey Milk is an ideal source for an opera. This edited version of Stewart Wallace and Michael Korie’s 1995 opera briskly covers the main parts of Milk’s later life, following him from self-appointed “Mayor of Castro Street” to member of the San Francisco Board of Supervisors. The first openly gay person elected to pubic office in California, Milk inspired a generation and shaped the changing face of a city.

Korie’s libretto wisely avoids ominous portents of doom, focusing instead on the vibrant positivity of Milk’s all too short public life. Dan White, assassin of Milk and Mayor George Moscone, is shown as a deeply troubled man who simply believed his irrational paranoia to be the truth.

Wallace’s music has a silvery beauty and a simple majesty that convey both the grand and the intimate moments of the story. The fact that the significantly reduced arrangements work so effectively is largely due to the skills of pianist Toni Lalich and percussionist Louis Sharpe. Lalich in particular has an exquisite touch on the grand piano.

The challenging score is held together flawlessly thanks to the careful precision of conductor Kathleen McGuire. The idea to use an actual choir for the chorus is an inspired one; the Melbourne Gay and Lesbian Chorus (augmented for this concert) perform with clarity and wonderful harmonies. Extra points go to the chorus members who memorised their material.

Artistic director Cameron Lukey has overseen a slick production, which balances a friendly community feel with the air of an event of significance. Lukey does away with the static music stands and scores of an opera concert, presenting dynamic direction with all lead cast impressively “off book.” After a brief introduction from McGuire, characters are clear and well defined.

Redoubtable, in-demand music theatre performer Tod Strike achieves a relaxed charisma as Milk, effectively conveying the personable magnetism and wily ambition of the great man. On stage with a trio of experienced opera singers, Strike more than holds his own as a singer of fine quality.

Fellow music theatre performer Nigel Huckle makes an auspicious Australian stage debut as Scott Smith. Newly arrived from the US, Huckle has a ready charm and a fine pure tenor voice.

Powerful tenor Jacob Caine gives a commanding performance as Dan White, capturing the conviction and the dark nature of the man without a hint of overplaying the drama.

Delightful mezzo-soprano Dimity Shepherd has a delicious cameo as a streetwalker before filling the more significant role of Milk’s successful campaign manager Anne Kronenberg.

In strong voice, experienced bass Jerzy Kozlowski is a distinguished presence as Mayor George Moscone.

Both the cast and the audience could surely have appreciated the chance for the full opera to be presented. Hopefully this concert is just a taste, and the full opera will be staged in the not too distant future. I was certainly left wanting more.

Harvey Milk the Opera in Concert was reviewed at St Kilda Town Hall at 3pm on Saturday 7 February 2015. Further performances: 8pm on Saturday 7 February, 4pm on Sunday 8 February 2015.

Returning opera to the mighty Palais Theatre, Victorian Opera match the spectacle of 3D animation with the quality of singing as Wagner’s The Flying Dutchman drops anchor in Port Phillip Bay.

The titular ghost ship may dock on dry land every seven years, but it is a longer time between visits for the epic opera. A romantic love story with a ghostly twist, the all too rarely seen opera proves easily accessible, all the more so with the ingenious use of 3D animation. The projections not only solve the problem of staging Wagner’s grand concept, they also serve as a seamless introduction for new audiences who are more accustomed to cinema than theatre.

Professor Kim Vincs and her crack team from Deakin Motion.Lab have created spectacular imagery that is all the more valuable for the way it supports the storytelling rather than ever threatening to overwhelm it. A large rear screen is flanked by two diagonal screens, creating immersive surroundings for the stage action.

On a stormy sea, Captain Daland’s vessel pulls into port, followed shortly after by the ghost ship, its massive red sails billowing precariously in the storm. 3D glasses can be rested for most of act two, set in Daland’s home, before the final sections return to the harbour for a visit below deck and the magical apparition of the ghost ship’s crew.

The screens are framed by a deceptively simple stage set from Matt Scott and Christina Smith. The use of dark wood ties in with the boats, the dock and the seaside cabin home. Sloping rear walkways are much more visually interesting than steps would have been.

Scott’s lighting is absolutely first rate, using side and overhead lights to provide plenty of illumination for performers without compromising the clarity of the projections.

Teresa Negroponte takes a realistic yet highly decorative approach with the costumes, contrasting the uniform browns of the men with a rainbow of muted pastels for the women. Daland’s daughter Senta wears a gown of virginal pale blue, while her nurse Mary stands out in rather decadent purple. The level of detail extends to the women’s hairstyles, and their bonnets, when visiting the dock, are a delightful touch.

Roger Hodgman’s respectful, traditional direction keeps storytelling clear and avoids any extraneous touches. Movement is slow and relatively static, as befits the leisurely pace of Wagner’s writing. The Flying Dutchman is, of course, brisker than Wagner’s later masterworks, but still, scenes such as The Dutchman and Senta’s act two duet where they first meet and swear their love, can only be played in a serene, deliberate manner. Hodgman derives some measure of energy from the hearty male chorus where he can. His expert dressing of the stage with the female chorus, especially as first seen spinning wool, is unfailingly attractive.

Innovative scenery and appealing visuals would all be for nothing if the music were not of equal or greater calibre. Happily, the music from orchestra, chorus and principals is excellent.

Maestro Richard Mills presides over the demanding score with a careful, loving, commanding and encouraging force. In a masterful move, Victorian Opera has engaged Australian Youth Orchestra to provide the massive orchestra, a decision that ties in with the company’s ongoing, unstinting support of young talent. Orchestral playing is marvelous, earning generous cheers of congratulation on opening night.

Closely matching the high quality of the orchestra is the heavenly chorus singing, impeccably prepared by Phoebe Briggs. The men, as the ship’s crew, sing with rousing, focused volume, and the women project an angelic power.

International singer Oskar Hillebrandt is supremely experienced in the role of The Dutchman, and the performance is clearly second nature to him now. If he is a little older than his castmates in the role, it does not really matter in a house the size of the Palais. While not an overly demonstrative actor, Hillebrandt’s baritone pours forth mightily with unwavering strength.

American soprano Lori Phillips sings the role of Senta with steely intensity, colouring the drama with a luscious, full-bodied sound. As with Hillebrandt, Phillips keeps her facial and expressions pared back, focusing all expression through her voice. Playing a young woman who is unhealthily obsessed with a ghostly legend, Phillips avoids histrionics and melodrama, maintaining a demure, introverted feminine presence.

Australian baritone Warwick Fyfe, acclaimed in the 2013 Melbourne Ring Cycle, again proves his expertise singing Wagner. Fyfe is a lively Captain Daland, providing some welcome moments of levity when the captain’s avarice for jewels prompts him to quickly offer his daughter in marriage to the mysterious Dutchman.

Australian tenor Bradley Daley gives a thrilling performance as Erik, Senta’s former boyfriend. Daley projects a strong stage presence, and sings the role with exhilarating power.

Young tenor Carlos E Bárcenas displays the remarkable strength of his vocals as the Steersman. Highly experienced contralto Liane Keegan makes a very welcome stage appearance as Senta’s concerned nurse, Mary.

The Flying Dutchman is an operatic event that should not be missed. Newcomers, in particular, should not shy away on the basis of lack of familiarity with the piece. Bravo to Victorian Opera for assembling the talent and resources to mount such an impressive and entertaining production.

The Flying Dutchman plays again at Palais Theatre, Melbourne 17, 19 February 2015.

The Flying Dutchman program can be read online.

The Flying Dutchman is part of Victorian Opera Season 2015.

Photos: Jeff Busby

Resolutely confronting and provocative, the cabaret work of Strange Bedfellows is set apart by the utter conviction and sheer talent of creators and stars Jacqui Dark and Kanen Breen. The production notes may suggest a “midnight journey,” but we are a few hours shy of the witching hour at the family-friendly time of 6pm this evening. (Not that this is a family friendly by any stretch.) Fortunately, the night sky blue walls of the Butterfly Club lounge soon create a suitably nocturnal atmosphere.

Outfitted in the decadent blacks and dark reds of their Weimar Republic theme, Dark and Breen have concocted a pair of grotesquely foul-mouthed characters through which to tell aspects of their life journeys. The in-joke is that while the onstage duo swear and snarl at each other, the real-life pair could not be closer. While candid cabaret sharing can be potentially be tinged with saccharine schmaltz and questionable half-truths, the Bedfellows draw on painful memories with raw abandon, practically daring the audience to decide where the line is drawn between fact and frivolity.

The Bedfellows draw us in with some humorous ditties before deftly switching gear to heavier material. Dark delights with a fast-paced German rendition of ‘80s hit “Tainted Love,” and the pair smash out a crisp take on the Divinyls’ “Pleasure and Pain.” Another early pleasure is the ideal cabaret number “Kept Boy” (written by Marc Almond, who, incidentally, also wrote “Tainted Love”).

After a medley of upbeat songs by accused perverts and sex offenders, the mood switches, mid bracket, to a more serious, but equally entertaining, vibe. Dark weaves in her struggles with IVF and Breen relates the pain and redemptive rebirth of coming out. The shock factor rises in an “operetta” about the particularly wild sexcapades of a debauched couple, but while one might have to cover a gasp or two, one dare not look away for a second.

Through it all Dark and Breen’s exceptional voices shine, both demonstrating the versatility and beauty of their instrument, and elevating the overall quality of the material with their musical skill.

Accompanist Daryl Wallis proves incredibly versatile in playing a wide range of styles on piano, enjoying seamless communication with the pair.

Opera purists who know Dark and Breen from mainstage productions may struggle a little with the tone of Under the Covers, but as a world-class cabaret act Strange Bedfellows is hard to beat.

Strange Bedfellows: Under the Covers plays at The Butterfly Club, Melbourne until 22 February 2015.

Photo #2, #3: Jeff Busby

A pristine exemplar of Broadway creativity at its zenith, The Lion King illustrates with sterling clarity why it is the world’s highest grossing musical.

The aisles of the Regent (which were created by removing seats for the first season of The Lion King) are once again graced by all manner of beast and bird as this epic pageant makes its very welcome return. One of the very few musicals that can fill the cavernous Regent auditorium on an impactful scale, The Lion King remains an immersive and affecting visual and aural feast.

Birds flutter overhead, rhinoceros and elephant parade by, and crisp, rhythmic percussion pours forth from the Juliet boxes. Visionary director Julie Taymor’s unmatched ingenuity and inventiveness provide a cavalcade of gorgeous stage pictures, both mighty and intimate in scope. While Taymor’s costumes are a riot of lush colour, it is her puppets and masks (co-designed by Michael Curry) that really set the production apart. No photo can do justice to the brilliant movement and expression of these aspects of the design.

While there are flashy effects and eye-popping moments, such as the deadly wildebeest stampede, the true mark of quality comes in the musical’s generous patience with quiet, heartfelt moments. There is time for ritual, time for tradition, time for affection, time for grieving. The central theme of allocation and preservation of natural resources remains a prescient one, with the elements of family and community pride give a shining example in this age of long hours and high fences. Elton John and Tim Rice’s movie hits provide toe-tapping pleasure, but it is the added music, particularly from Lebo M and Hans Zimmer, that provides ethereal beauty.

Having visited Sydney and Brisbane, this return tour arrives in Melbourne in top condition. The adult leads are particularly strong, their characterisation and timing sharply honed over months of performances.

Rob Collins, as the noble Mufasa, demonstrates how to be strong father and powerful man while still maintaining a gentle and sensitive side. Josh Quong Tart drips resentful venom as Scar, deftly projecting the bubbling wrath of a brother who feels unjustly wronged where a lesser actor would be tempted to resort to camp villainy. Cameron Goodall achieves a dazzling range of expression as bristling do-gooder Zazu; it is a shame that Zazu’s act one charm song “The Morning Report” has been cut.

Buyi Zama returns as effervescent spiritualist Rafiki, a role she has played around the world. Zama’s dialect and body language are a delight, and the joy she experiences from being on stage is infectious.

Nick Afoa is well cast as Simba, his impressive, manly physique offset nicely by his doe-eyed countenance. Afoa finds an impish, restless energy in the young adult Simba, before settling into confident maturity as Simba reclaims his rightful place. Afoa’s attractive, breathy singing voice could see him cross over as a pop vocalist in a heartbeat. Afoa has a sweet stage partner in the elegant Josslynn Hlenti, a physical actress with a lovely singing voice.

Energy lifts with the arrival of crowd favourites Pumba (Russell Dykstra) and Timon (Jamie McGregor). McGregor has perfected his vocal inflection and comic timing, scoring plenty of laughs as madcap meerkat Timon. Dykstra throws himself into the daggy dorkiness of stinky, well-meaning Pumba.

As the rabid hyenas, Ruvarashe Ngwenya, Terry Yeboah and André Jewson have shown significant improvement in communicating all their dialogue and vocals while leaping about manipulating complex puppets. This is no mean feat.

Adam de Leon had terrific energy and verve as Young Simba on opening night. Likewise, Annette Tran is a spunky, plucky Young Nala.

A musical that more than lives up to its hype and legend, The Lion King is a glorious treat for young and old.

The Lion King plays at Regent Theatre, Melbourne.

Man in Chair also reviewed The Lion King Sydney.

Photos: Simon Parris

Thank goodness for independent theatre producers. While commercial producers churn out rehashed retreads, StageArt have the courage, vision and passion to present this highly original, Tony Award-winning musical that is as much fun as you can have at the theatre.

I saw In The Heights on Broadway, and went a second time in the belief that it would never be seen in Australia. I have never been so glad to be wrong.

Approaching this production, there was a niggling fear that this cherished musical would prove too fiendishly difficult and too culturally inaccessible for the local theatre scene. Highly driven, exacting producers Katherine Armstrong and Robbie Carmellotti have galvanised the work with a series of wise choices. Rather than just focus on the dance (which is of an amazing standard), they have employed an insightful, meticulous director, an expert music director and, best of all, have hand picked a dream cast of incredible triple threats who suit their roles to perfection.

A chief accomplishment is the extraordinary level of integration of production elements. It is clear that every member of the cast and creative team is on the same page, from the authentic props to the clever design to the whirling, singing chorus members who are always in character.

Winner of the 2008 Tony Award for Best Musical (as well as Best Score, Best Orchestrations and Best Choreography), In The Heights is set in Manhattan neighbourhood Washington Heights, where a close knit Hispanic community face a tumultuous period of change during a particularly hot summer. The hip hop/rap/salsa sound of Lin-Manuel Miranda’s score is as surprising as it is electrifying, but if the score is radical, the storyline is rather more traditional. As addictive and catchy as the music is, the lyrics are even more ingenious, featuring dazzling internal rhymes and intricate speech rhythms.

No background is needed to meet and enjoy these endearing characters. You know you have the audience fully engaged when they let out whoops of joy at the opening act two sight that two characters have spent the night together. When the story takes a melancholic turn in act two, the audience is fully absorbed and respectful of the drama.

Director James Cutler finds the perfect balance between the fever pitch energy of the cast and the control and focus needed to sell the characters and tell the story. Yvette Lee’s dazzling choreography is intricately woven throughout the action. Musical director Cameron Thomas makes juggling the range of styles and the lightning tempos seem effortless, producing a terrific sound from six musicians. When the combined elements of acting, dance and song really take flight, such as in act one finale sequence “The Club” and “Blackout,” the effect is truly thrilling.

All aspects of design provide high quality support to the performances. Merinda Backway’s sets make extraordinary use of the tight stage space to place the action clearly in its uptown locale. Kate Sinclair’s costumes, of which there are a great number, are a key aspect of each character and their arc. Jason Bovaird basks the stage in the orange glow of oppressive heat, also creating ongoing visual interest with innumerable lighting cues that match the excitement and modern feel of the music. Marcello Lo Ricco’s sound design is a little loud at times, but reliably picks up every word, an asset that is of extra value in a new show with particularly dense lyrics.

Overall, the production elements and performances are at a level that would fill a 1000-seat theatre (or higher), giving the show incredible impact when viewed in the relative intimacy of Chapel off Chapel.

Stephen Lopez was born to play Usnavi, capturing the lead character’s loquacious, compassionate nature. Lopez instantly bonds with the audience, gaining their trust and affection as he leads the way through the intertwined lives of the local residents.

Where a regular musical may have one I wish song, for its chief protagonist, act one of In The Heights gives a number of characters a moment in the spotlight to soar through a ballad or rap about their hopes and dreams.

Charming young actress Anna Francesca Armenia gives a lovely performance as Nina, a young woman struggling to fit in and succeed at an Ivy League university. Projecting warmth and affection, Clarence Marshall and Bianca Bruce ground the younger characters as Nina’s proud, conservative parents Kevin and Camila. Both Marshall and Bruce are excellent singer actors; Marshall shows Kevin’s vulnerability in “Inútil” (Useless), while Bruce shows her fiery side when Camila takes over in “Enough.”

In a very welcome stage appearance, Francesca Arena provides the heart of the show in Usnavi’s dear Abuela Claudia. Arena immerses herself in the role, creating a nuanced characterisation of a weary, beloved elderly lady. She flexes her considerable vocal strength when Abuela breaks into song with “Pacienca y Fé” (Patience and Faith).

The local hair salon, in the process of closing, is populated by boss Daniela and employees Vanessa and Carla. Laura Marcucci is the sassy, curvy Daniela, a driven woman with a loosely concealed heart of gold. Experienced belter Marcucci really shines when Daniela lets fly in act two and inspires the full company into an impromptu parade “Carnival del Barrio” (Neighbourhood Carnival). In the key role of Vanessa, Bianca Baykara displays impressive acting talent as she manages to portray a young woman who is plagued by low self-esteem despite her exotic beauty.

James Elmer gives a winning performance as Benny, a bold young man on the cusp of independence. A seriously talented dancer, Elmer also proves a skilled rapper, and his cheeky grin makes him a clear audience favourite. Providing further youthful male energy is Andrew Doyle, giving an appealing performance as Usnavi’s frisky younger cousin Sonny.

Many of the wow moments in the choreography come from awesome break-dancer Peter Sette, playing Graffiti Pete. Sarah Calsina is cutely naïve as devout Christian Carla. Gareth Jacobs gives Piragua Guy a merry twinkle in his eye, and impresses with his strong vocals in “Piragua.”

Further members of the stage cast, all giving the show everything they have, are Demi Sorono, Jake O’Brien, Elandrah Eramiha, Joshua Martin, Ashleigh Kiven, Timothy Philip Doherty, Nicolas Mena and Samantha Bruzzese.

In The Heights is must-see music theatre.

In The Heights plays at Chapel off Chapel until 8 March 2015

Photos: Belinda Strodder

To borrow a backhanded compliment from the great Mel Brooks, Sexercise the Musical is, in my opinion, “surprisingly good.”

Written and produced on a scale of Off-Broadway musicals, Sexercise has a few flaws, but these are gradually overcome by the charm and energy of the cast and the solid concept for the show.

Taking advice from a couple’s counsellor, Sam and her husband Joe attempt to cure their relationship slump by indulging in a healthy bit of sexercise. The relationship lens is expanded to include subplots for counsellor Rhonda and friends Tania, Andy and Shane. While this is a boon for the talented supporting actors, it also contributes to a bloated running time of 140 minutes (including interval).

Set in present day Melbourne, Sexercise employs a knowing wink to avoid the cultural cringe. In a world of kikki.K, Foxtel and Mount Waverley Secondary College graduates, writer Derek Rowe creates characters that are recognisable yet not overly stereotyped. The temptation could have been to write a segmented revuesical, but the inclusion of a storyline is a wise choice for maintaining interest.

Also contributing the music and lyrics, Rowe goes a very long towards redeeming his involvement in that-other-show-with-sex-in-its-title. Songs are enjoyable, if not entirely hummable, on first listen, with a fresh sound that is not derivative of other sources. Individual songs are mainly set apart by the concept being covered, from online dating to tedious sex to aging gracefully.

Director Sara Grenfell deserves great credit for not only inspiring energetic performances from the cast, but for earning their trust so as to adopt all manner of intimate, close physical contact and sexual representation. It is all good, clean fun, but the cast’s camaraderie and familiarity allows the audience to relax and enjoy a show that could potentially be uncomfortable in lesser hands.

Dana Jolly’s choreography is similarly peppy, and benefits immensely from the impressive dance skills of the cast.

Musical Director Trevor Jones leads a confident presentation of the all-new score, also deftly completing the under-appreciated job of orchestrations and arrangements. The number of musicians is not clear (as the band is not listed in the program) but the musical accompaniment does seem a little slight overall. Sound quality on opening night was affected by the raw sound design of Your Show Pty Ltd, with too many crackles and pops heard throughout the night.

Adrienne Chisholm’s uncluttered stage design keeps action brisk and clean. Chisholm’s costumes are varied, modern and colourful. Her choice to present the counsellor Rhonda as a buttoned up professional when the character has many new age traits and practices is an odd one. (Similarly, it is odd that we learn of Rhonda’s shady past after we have already seen her let her hair down.)

Nicole Melloy anchors the show with a strong, poised performance as Sam, the restless, devoted Mum who casts aside yoga to rediscover sex with her husband. In an upbeat show, Melloy sells her downbeat ballad “Don’t Need I’m Sorry” thanks to her soaring vocals. Lyall Brooks has a charismatic presence as Sam’s schlubby husband Joe. Melloy and Brooks are terrific in two sex-related numbers: “Are We Done Yet,” as they re-enact their tepid, intermittent sex life for the counsellor, and “Work Out With Each Other,” as Joe and Sam throw themselves into sexercise. Melloy and Brooks also show themselves to be team players when they perform as ensemble members in boy band parody “Planet Earth.”

Fem Belling, as counsellor Rhonda, and Kristin Holland, as buff friend Shane, also throw themselves into their bedroom number “Love or Lust or Whatever.” Belling provides an act one highlight with “Computer Dating Man,” a number that is enhanced with fun video accompaniment.

Comic energy lifts palpably with each stage appearance of Lulu McClatchy as despondent lesbian Tania. Channeling her best Rebel Wilson vibe, coloured with her own inimitable flair, McClatchy scores plenty of laughs. Masculine, young actor Cameron MacDonald proves his acting versatility by convincingly playing an indecisive, middle-aged man. McClatchy and MacDonald offer strong support throughout, and enjoy their moment in the spotlight in “It Might Be Different This Time.” McClatchy also charms the audience, especially one lucky woman, in “Want What I Got.”

Don’t go along expecting Sondheim or spectacle, but for a diverting laugh, Sexercise is pleasant entertainment.

Sexercise the Musical plays at Alex Theatre, St Kilda until 15 March 2015

PS It would be remiss not to mention the brand new Melbourne venue Alex Theatre. A spectacular Broadway wall collage sets the scene in the foyer. The 500 seat theatre, with moderate-sized mezzanine, enjoys uninterrupted sightlines and comfortable seats. Being a step up in size from Chapel off Chapel, this is a welcome addition to the Melbourne theatre scene. Now if they could just magically conjure some easy parking.

The minute you walk in the joint…your eyes are immediately drawn to red hot dynamo Verity Hunt-Ballard in her already legendary, award-winning performance as sweet Charity Hope Valentine.

Set Design, by Owen Phillips, may have a very Emperor’s New Clothes feel, but the Phantom’s chandelier hanging from Miss Saigon’s helicopter could not eclipse the star wattage emanating from Hunt-Ballard. In a blistering tour de force, Hunt-Ballard makes the fifty year old show vibrant, fresh and compelling. Lyrics and text pour forth in such a stream of consciousness that they seem to be natural, spontaneous reactions. In fact, the simplicity of the fluid staging makes the whole show seem to be an ongoing impromptu fantasia on relationships; it just all seems to be unfolding with a force of its own. Ross Graham’s pinpoint lighting design aids this filmic continuity.

Hunt-Ballard imbues our plucky heroine with a life far beyond the text on the page, capturing our hearts only to break them time and again. Her Charity is a jangling bundle of nerves, self-deprecating yet fiercely determined, naive yet worldwise, eternally hopeful yet ready for defeat. Speech patterns distinctly set Charity apart from the society she yearns to enter, creating as clear an example of class snobbery as that endured by Eliza Doolittle. Hunt-Ballard also sings up a storm and dances with charismatic flair.

The show’s freshness is enhanced by the groovy adaptation of the score, with electric guitar replacing the brassy Broadway sound. Andrew Worboys’ musical direction is a superb example of songs emanating organically from scenes, with snatches of introductions heard as songs approach. A brilliant example of this comes when Charity and Oscar sing “I’m The Bravest Individual” to an accompaniment that sounds like elevator muzak. The opening lyrics of “Rhythm of Life” also work brilliantly as used by churchgoers in explanation to Charity and Oscar.

Worboys also plays cranky ballroom manager Herman, but his rendition of “I Love to Cry at Weddings” is diminished by having to go back to sit at the piano. Additionally, his casual, festive green shirt does not match the character at all.

Director Dean Bryant guides and channels the whirlwind of energy to thrilling effect, achieving an unsettling discomfort in Charity’s plight that eschews the usual cheerful familiarity of classic music theatre. Showing respect for the source material, Bryant allows the quality of writing by Neil Simon (book), Cy Coleman (score) and Dorothy Fields (lyrics) to shine through, without feeling the need for extraneous additions and gimmicks. The only brief exception to this is the unnecessary addition of a fairy godsister for Charity in the final moments. After rightly trusting Hunt-Ballard to carry the show all night, this feel-good ending undermines the poignancy of the crushing final scene.

That Bryant and Hallsworth work brilliantly as at team cannot be doubted given the seamless integration of choreography throughout the scenes. From the frantic action of the overture, the show dances its way from scene to scene. Each of the three sections of choice dance number “Rich Man’s Frug” are given a character and purpose. “I’m A Brass Band” is a celebration of all manner of dance styles, which, likes the text, seem to just pop into Charity’s head as she moves. Hallsworth has matched the choreography well to each actor’s skills, creating a joyous cohesive whole.

Using a concept from the 2009 Menier Chocolate Factory production, Bryant keeps the lead cast lean by having two key actors play more than one role. The idea of one actor playing each of Charity’s men (Charlie, Vittorio and Oscar) is a particularly inspired one, suggesting a subtext that Charity has a “type,” and that all her men are a variation upon each other. It also gives a male actor a challenge and showcase on par with the actress playing Charity. Leading man Martin Crewes is more than up to the task, putting a unique spin on each of these male characters. His Vittorio is as suave as he is immature, and he keeps Oscar grounded in realism despite the hyperactive nervy edge required.

Debora Krizak makes an all too rare appearance on the Melbourne stage, giving us an earthy, world-weary Nickie and a spoilt British sex kitten as Vittorio’s slighted girlfriend Ursula. (I overheard a pair of gents at interval who had only worked out that these roles were played by the same actress by Krizak’s stunning pair of legs).

Kate Cole’s Helene is a sassy Southern complement to Krizak’s Nickie, the pair providing the jaded ying to Charity’s optimistic yang. Krizak, in particular, creates further layers by turning on a dime from flatly depressed to indulgently dreamy.

Tim Chappel’s red, orange and pink costumes are neatly contrasted by a set of multi-purpose green chairs. Changing Charity into white is a nice touch as she leaves the Fandango Ballroom, leaving her to don her signature pink again when her plans go pear shaped. The one odd costume choice is the conservative beige outfits for the Rhythm of Life church, which makes the congregation look much more Southern Baptist than New York. Wig design, also by Chappel, adds loads of character to the girls of the Fandango Ballroom.

Believe the hype. This is a landmark production that is not to be missed.

Sweet Charity plays at Playhouse, Arts Centre Melbourne until Saturday 7 March 2015.

Photos: Jeff Busby