The gloriously melodious music of Gounod’s Faust is welcome in any season, but with a cast as superb as the design is extravagant, this production is one of opera’s must-see events of the year.

This is the new production that Sydney audiences have waited for this year, and Opera Australia has not disappointed. Lavish production values, theatrical magic and   a mixed cast of local and international singers combine to give as fully realised a performance of Faust as one could hope to see. It certainly wipes the floor with the current sparse, ill-conceived Met Opera Faust.

The strength of the cast and the scale of the production are all the more appreciated given that the season could have almost rested on the attraction of visiting American tenor Michael Fabiano. Well known to viewers of the Met Opera Live in HD series after his appearance in landmark opera documentary The Audition, Fabiano is on the cusp of being one of the world’s most sought after tenors.

Blessed with a thrilling ring to his powerful tenor voice, Fabiano is also a superb actor and a magnetic stage presence. The reaction of the audience to his first appearance from under the aged make-up was audible, and appreciation only rose from there. In Faust’s big aria “Salut! Demeure chaste et pure” Fabiano demonstrated the soaring power of his voice, which can also hush to a whisper as required. Fabiano charts the journey of Faust from painfully shuffling elder to bright-eyed, reinvigorated youth to desperate, drug-addled degenerate with pinpoint accuracy, garnering full audience sympathy and affection despite the fact that Faust is essentially a selfish, greedy man.

Fast rising Australian soprano Nicole Car conveys a similarly affecting arc for dear Marguerite, taking her from innocent subservient girl to passionate lover to pitiful fallen woman. The luscious tone of Car’s pristine soprano is in top form, and this is a role she could play for many years to come. Car’s gorgeous rendition of “Ah! je ris de me voir si belle en ce miroir (the Jewel Song)” is enhanced by the quality of her acting, as her body language conveys the way Marguerite gradually succumbs to the seductive appeal of the glittering jewels.

Having sung so beautifully individually, anticipation is high for Fabiano and Car’s first duet, “Laisse-moi, laisse-moi contempler ton visage,” as Faust begins his to conquer the virtuous young woman. Duets, and, indeed, the many trio and quartets scenes, are very well balanced, with Maestro Guillaume Tourniaire keep a tight but highly supportive reign over singers and the Australian Opera and Ballet Orchestra. The orchestra particularly impresses during the generous servings of ballet music, especially the exciting dance music in act five.

Charles Edwards’ spectacular, large-scale designs bring to mind the new staging of Les Misérables, so it must be noted that this production was designed first (2004 for Royal Opera et al). After a magical transition between the first two acts, from Faust’s chambers to the densely populated streets, it is a little disappointing that the remaining changes are covered with the house curtain. The sets are rich, extensive and highly attractive, completed to a very high standard of polish.

The dark and glossy costume design, by Brigitte Reiffenstuel, is as sumptuous and satisfying as the scenic design. Witty touches abound for the devilish Méphistophélès, who cheekily inserts himself into whatever is playing in each scene.

As Méphistophélès, popular bass baritone Teddy Tahu Rhodes does not quite produce the rumbling malevolence of Russian bass Barseg Tunyaman (so memorable in the wonderful VSO Faust of the 1990s) but has a charismatic presence that is appreciated by the audience. Rhodes more than holds his own in duets with Fabiano.

Italian baritone Giorgio Caoduro, fast becoming a very familiar face on the Opera Australia stage, is a noble Valentin, giving an emotional rendition of Valentin’s aria “Avant de quitter ces lieux.”

Young Artist Anna Dowsley creates a sweet and pure characterisation of love-struck youth Siébel, her performance of “Faites-lui mes aveux” comparing most favourably with her more experienced colleagues. Dominica Matthews adds another charming, characterful mezzo role to her impressive repertoire as Marguerite’s easily waylaid guardian Marthe. (Matthews scores a particularly lavish purple dress and elaborate wig to wear as Marthe.)

Chorus singing is reliably excellent, with a special immersive treat coming in the final glorious moments of the opera. The use of multiple actors and dancers add significantly to the visual pageantry.

Fingers are crossed that this production will visit Melbourne in the near future. Meanwhile, four Sydney performances remain in this current season. Opera lovers are urged not to miss Faust.

Faust was reviewed 12pm Saturday 28 February 2015.

Faust plays selected dates at Joan Sutherland Theatre, Sydney Opera House until 13 March 2015.

Man in Chair also reviewed Michael Fabiano in Verdi’s I Lombardi in concert in New York.

Photos: Lisa Tomasetti

Loved the play, hated the concept.

It is assumed that director Kip Williams has been to a National Theatre Live cinema screening recently, at which he decided to subject us all to the same experience, whether we welcomed it or not. NT Live cinema tickets cost $28; tonight I paid $99 ($107.50 with booking fee) for the same effect.

After the briefest stage crossing, Robyn Nevin (Mrs Venable) and Mark Leonard Winter (Doctor) exit through a door in a massive white screen. From here, the play proceeds (presumably) behind the screen while the action is projected onto the screen. I say “presumably” because the effect is so cinematic that it could be that we are watching a pre-recorded screening while the actors drink water and check their Facebook.

There are minor points of interest: the camera work gives the impression that we are eavesdropping on a conversation from behind the leafy greens of the late Sebastian’s garden; use of the door and window tie in nicely; and, later, triptych effects give multiple viewpoints at once.

Finally, after some 30 minutes, the stage revolves to reveal the real setting, which is an impressive expanse of potted greenery. Still, the camerawork continues, so that for the sake a couple of moments of clever angles, we are removed from the time and setting so carefully constructed by the actors’ speech patterns and the costume designer’s flair by the sight of three camera operators in black snaking around the stage and occasionally even blocking the actual view.

Only 40 minutes, out of a total 90, is allotted to “normal” stage viewing before the screen revolves again. The climactic sequence of Catharine’s recounting of Sebastian’s death last summer reaches quite a frenzy, but it all comes at a cost of the fundamental difference between live theatre and film: in a play, you should be able to choose where you look, whereas in film that choice is made for you. The decision about whose reaction one wishes to observe as Catharine’s sinister narrative unfolds should rest with the audience.

Fortunately, Tennessee Williams’ brisk play contains plenty of dramatic detail to retain interest and focus despite the distraction of close ups that reveal wig lines and eyelash glue. Tension is aided by excellent background music by Stefan Gregory.

Nevin gives an unfussy star turn, every bit the ensemble player despite being the most experienced actor on the stage. Her delivery of Mrs Venable’s most ruthless line brings audible chills from the audience. Winter captures the mannered intensity of Doctor, and is every bit as handsome as the type of men Sebastian used to enjoy as an entourage.

As the disturbed young Catharine, Eryn Jean Norvill has an attractive period look and a lovely open face. Norvill’s focus is a great aid to the audience following the story when the camera work becomes dizzying.

Paula Arundell (Sister Felicity), Melita Jurisic (Miss Foxhill) and Brandon McClelland (George) give solid support. Susan Prior is too young to be Mrs Prior, mother to Catharine and George, and her acting reaches histrionic soap opera levels at a stretch.

Let us hope that that this was a gimmick to try once then leave alone.

Suddenly Last Summer was reviewed at Drama Theatre, Sydney Opera House at 8pm Saturday 28 February 2015. It plays until 21 March 2015.

Photos: James Green

Willy Russell’s classic musical packs considerable punch when presented as an understated, softly spoken drama.

I do not often focus on producers in reviews, but it is difficult to describe the success of this staging without looking at the production as a whole. A highly talented, high profile cast (in no need of “exposure”) have been attracted to the realm of independent theatre and have been rewarded with a classy presentation featuring high than expected quality sets, costumes and lighting and amazing sound. Full credit goes to producer Enda Markey and Hayes Theatre Co for delivering the goods at such reasonable prices.

Russell’s book and lyrics have a poetic air, but the simplicity of his rhymes is potentially tedious in the wrong hands. Director Andrew Pole has clearly workshopped natural delivery of the text, including dialing down the melodramatic nature of the heavily foreshadowed plot, a feat handled particularly well by Michael Cormick (Narrator) and Bobby Fox (Mickey).

Cormick somehow avoids the over-the-top nature of the Narrator’s ominous premonitions, delivering his lines in a gently sinister whisper that keeps plenty of volume in reserve for the climactic moments. Cormick maintains a twinkle in his eye that can switch from mischievous to malevolent in a second, and is a wonderfully present scene partner for his fellow actors.

In a highly capable ensemble cast, Fox stands out for his flawless delivery and the spark he keeps bubbling under the surface throughout. “Seven, but I’m Nearly Eight” illustrates Fox’s ability to make the simple poetic structure disappear, and his highly sympathetic portrayal of Mickey’s descent into depression is masterfully handled.

I noticed an interesting inversion in the structure on this viewing: whereas traditional musical comedies often have a dramatic note before the act one curtain (often along the lines of “boy loses girl”), dramatic musical Blood Brothers offers its only optimistic plot point at the end of act one, when the Johnstone celebrate their relocation to the country in “Bright New Day.”

Designer Anna Gardiner has made excellent use of the intimate Hayes, with solidly built sets that fold out to reveal interior settings. The deliberately depressing greys of the textured walls are nicely offset by the cheery tones of Gardiner’s costumes. Decades of growth are traced through the impressive array of costumes. While Mrs Lyons does not quite look “posh” enough in act one, her act two appearance is an improvement; likewise, working class struggler Mrs Johnstone looks more suitable in act two with her pretty hair tied back.

Musical director Michael Tyack achieves very pleasing results with only four musicians (himself included) Particularly pleasing is the gentle, highly natural sound by sound consultant Thomas Brickhill. Musicians and vocalists sound so much better without the exhausting high volumes so often heard in Melbourne boutique productions.

Helen Dallimore is just a touch glossy for the browbeaten Mrs Johnstone, but achieves a lovely relationship with her stage children and effectively engages audiences empathy for her plucky character’s plight.

Blake Bowden does not have a chance to show off his operatic tenor, but achieves a lovely characterisation of sheltered, well-to-do Edward. There is an age difference between Bowden and Fox, but their similar hairline and height aid their depiction of the separated twins. Duets “My Friend” and ‘That Guy” benefit from the authentic camaraderie and spirit achieved between the pair.

Christy Sullivan traces an interesting and believable arc for long-term playground friend Linda. Bronwyn Mulcahy’s portrayal of skittish society wife Mrs Lyon benefits from the uniform understated performing style of the cast.

Highly capable actress Erin James succeeds in differentiation between a dizzying number of supporting characters. Jamie Kristian delivers the surly menace older brother Sammy. Phillip Lowe provides flexible support as Mr Lyons and a range of other cameo roles.

With Blood Brothers joining current Australian productions of Sweet Charity, Man of La Mancha and In The Heights , independent producers are providing a wealth of opportunities for performers and a raft of relatively affordable entertainment for audiences. Long may this welcome trend continue.

Blood Brothers was reviewed 1pm Sunday 1 March 2015 at Hayes Theatre, Sydney, where it plays until 15 March 2015.

Photos: Kurt Sneddon

Blue chip title Dirty Dancing twirls back into town in a production that is surely resistant to help or hindrance from this, or any other, reviewer.

With the title as the star attraction, producers John Frost and partners have been able to take a chance on two relative unknowns as the leads, and this may be the best feature of this tenth anniversary tour.

Kirby Burgess is a wonder as lead character Baby, a burgeoning young woman who sees the changing world of 1963 through rose tinted glasses. Balancing a wide-eyed countenance with a supremely fit and strong physique, Burgess’ dance talents see her convincingly tell the story of Baby’s rapid rise as dance partner and young lover. Burgess’ acting skill and commitment to the role help her to rise above the material to create an endearing heroine whose charms are from cloying.

Kurt Phelan is a terrific dancer, especially when paired with knockout dancer Maddie Peat (as Penny Johnson). A little too young and sweet faced to be a dangerous Johnny, Phelan nonetheless performs with energy and flair to make the storyline as convincing as possible.

The show is now well established as a kind of play with songs, but given that all other elements match traditional music theatre presentations, the absence of singing from the characters is still frustrating and underwhelming. Baby needs an I wish song, rather than a few seconds listening to the radio and dreaming about dancing couples, her father needs a reflective ballad, her parents need a proper duet, and, most of all, the climactic dance would contain so much more punch if Baby and Johnny were singing “(I’ve Had) The Time Of My Life.”

The frustration at the lack of singing from the characters is compounded by the presence of strong music theatre talents in the roles. Adam Murphy, as Baby’s saintly father Jake Houseman, is an excellent music theatre singer. Teagan Wouters, playing Baby’s older sister Lisa Houseman, at least gets to do daffy comic number “Lisa’s Hula,” but her sensational belt is nowhere to be heard.

Of the background songs performed by the supporting players, Mark Vincent soars with “In The Still Of The Night” and “(I’ve Had) The Time Of My Life;” a full blown music theatre role for Mark Vincent is highly anticipated.

The featherlight premise for Eleanor Bergstein’s book achieves a degree of drive in act one, as Baby learns to dance and falls in love, but almost blows away in act two as the story quickly runs out of narrative. Despite a fleeting reference to current events, such as Martin Luther King’s “I Have A Dream” speech, the whole affair is entirely superficial. It attempts to cover this with a breezily rapid pace, as if the audience will not realise that nothing much is happening if the projected scenery (by Jon Driscoll) and gorgeous costumes (by Jennifer Irwin) change every minute or so.

As a representation of a film on stage, the video screens and projections create quite a grandly immersive world that fills the space effectively. The sequence where Baby and Johnny rehearse on a log, in a grassy field and in the water includes a few amusing moments, but when the main laughs come from enjoyment of the scenic and lighting effects there is something wrong.

Taken for what it is, Dirty Dancing is harmless fun, which is sure to be enjoyed by fans of the movie looking for a good night out. It just seems a shame to have all those resources expended on the revival of a derivative, overly simplistic show.

Dirty Dancing plays at Princess Theatre, Melbourne

Photos: Jeff Busby

Lovingly restored to full glory, Maina Gielgud’s 1986 production of Giselle returns to its place as one of the most treasured jewels in The Australian Ballet’s repertoire. With a cast full of characters who simply love to dance, Giselle is the ultimate ballet to enjoy for the sheer volume and beauty of its choreography. When described briefly, the story of a young girl who dances to death sounds ludicrous, but when performed with such tender passion, the tale achieves a touching poignancy that transcends the bare bones of the plot.

In addition to the exceptional quality of dance on show, the sterling achievements in affecting drama and clarion storytelling are surely due in no small measure to the return of Gielgud to the rehearsal room. The work of the full cast is representative of a company in peak form, with nary a gimmick or special effect needed beyond the pure talent on display. The highly traditional production has the stage is bathed in rich autumnal tones for the woodland setting of Giselle’s village, before switching to icy midnight blues for act two’s graveyard location. Peter Farmer’s sets are a deft balance of realism and stylization. William Aker’s lighting, reproduced by Francis Croese, uses dappled light and plenty of haze to create depth and texture in the scenery, particularly in the graveyard.

Farmer’s highly attractive costumes not only serve the characters well but also features small touches that subtly enhance the beauty of the dance. The level of splendour rises with the arrival of the royal party in act one; the glamorous white ensemble for Princess Bathilde is especially grand. In a neat synchronicity between costume and lighting, the veil-draped Wilis resemble graveyard tombstones when they magically first rise from the ground in act two. Conductor Nicolette Fraillon presides over Orchestra Victoria as they give a superb rendition of Adam’s expressive score. Dynamics are particularly pronounced, and the playful nature of the act one music contrasts very nicely with the plaintive longing heard in act two.

Having announced her imminent retirement this month, Principal Artist Madeleine Eastoe seemed to receive an even greater outpouring of love from the opening night audience, with many knowing it will be on the of the very last times they see her dance. Eastoe is exceptionally effective in capturing the young and playful aspects of dear Giselle, winning hearts immediately as the delicate and loving young woman. Playing down the histrionics, Eastoe gives a subtle reading of the mad scene, bringing a dignity and naturalism to Giselle’s untimely death. For both the energetic and ethereal moments, Eastoe’s dancing has a lightness and purity that matches the gossamer costumes. The aching longing of the character seems to inhabit her very bones as Giselle yearns to connect with Albrecht from the spirit world. Albrecht may be a role debut for Kevin Jackson, but when a part fits as perfectly as this there is a sense that he has been dancing the character his whole life. Jackson’s masculinity suits the role of the noble hunter very well, and he develops tangible chemistry with Eastoe. A jaw-dropping series of entrechats (perhaps 32 in a row) gives an excellent demonstration of Jackson’s strength and grace.

A crowd favourite on opening night was the delightful suite of dances known as the Peasant pas de deux. Reiko Hombo and Chengwu Guo really stole the show at this point, the stunning quality of their dancing enhanced by their radiant smiles. Andrew Killian deliberately frays the edges of classical technique to convey the raw, impulsive nature of jealous admirer Hilarion. Natasha Kusen looks divine, and expertly portrays the upright carriage and generous grace of Princess Bathilde. Former star Principal Lisa Bolte brings immeasurable experience to the role of Berthe, Giselle’s devoted, protective mother.

As mighty Myrtha, imperious Queen of the Wilis, Ako Kondo is another dancer to almost steal the show, so compelling and enjoyable is her finely honed performance.

While a multitude of truly lovely work is on display in act one, it is the Wilis that really give the corps the chance to shine. Moving with a precision of unity, the corps dancers are a wonder to behold as they ever so delicately perform the unearthly dance of the tragic spirits. Giselle plays at State Theatre, Arts Centre Melbourne until 23 March 2015, then tours to Sydney, Canberra and Adelaide.

Man in Chair has also reviewed:

Roberta Marquez and Steven McRae in Giselle at Royal Ballet

Svetlana Zakharova and Roberto Bolle in Giselle at La Scala

Footnote: Dear Arts Centre front of house staff, latecomers have no right to disturb the viewing pleasure of audience members who bothered to arrive on time. Please lock them out.

Photos: Jeff Busby

Lyric Opera of Melbourne’s comic double bill does not quite achieve the polish of previous presentations, but in some ways that is a deliberate choice.

There has been a great deal of recent talk about making opera accessible. Lyric Opera of Melbourne have come up with a unique approach for this season, having the audience enter to a friendly, relaxed atmosphere, with cast and orchestra casually mingling, preparing and warming up. Conductor Pat Miller gives a warm welcoming speech and we are on our way with the first of two gently comic operas.

The first offering is The Spanish Hour (L’heure Espagnole), a one-act opera by Ravel about the revolving bedroom door of the wife of a clockmaker. Torqumada (Daniel Sinfield) goes out to tend the municipal clocks, leaving his wife Concepción (Katrina Waters) to deal with her many admirers. With a slew of lusty men hidden in grandfather clocks, the plot suggests a farce; the leisurely pace, however, does not provide a chance for tension or hilarity to develop. The musicality of the piece is solid and well prepared, but the opera does not ever really take flight. Still, at only 50 minutes, it is a pleasant experience, and Ravel’s score provides a unique musical sound compared to the usual opera classics.

Raphael Wong comes off best in the generally well-matched cast of six, producing a bright, clear sound with his fine baritone voice. Wong’s sturdy build is certainly well suited to Ramiro’s labouring tasks, as he carries the grandfather clocks on and off the stage.

Tenor Nigel Huckle has an appealing freshness as romantic poet Gonzalve. Sinfield again displays a flair for comedy in the all too brief role of the guileless husband. Shoumendu Ganguly gives a characterful performance as lusty middle-aged banker Don Iñigo Gomez.

Mezzo soprano Waters gives her all to the frazzled object of affection, singing and acting the role with flair. She is let down somewhat by Ross Hall’s costume design, which gives her a frumpy appearance unbefitting a woman so superficially lusted after by men. A more glamorous hairstyle or wig would also help to create the visual style the character requires.

The six singers perform with clear diction, and their technical prowess makes the unfamiliar score seem quite effortless.

Miller leads a chamber orchestra of eight musicians, with the appealing percussive elements of the score performed most effectively, and the clarinet adding extra character.

The casual atmosphere continues at interval, as the set is rearranged, musicians move into new positions and performers pause for photos with the audience.

Puccini’s comic masterpiece Gianni Schicchi is a far more well known piece, and its inherent quality gives the second half of the program more appeal. It is a novelty to hear it paired with another light opera, rather than after dramatic heavyweights Il tabarro and Suor Angelica as part of Puccini’s Il Trittico.

The Donati family bickers, backstabs and bewails at the deathbed of wealthy old Buoso, a role that is cast with a fun bit of audience participation. Hearing the work in English aids the humour of the morality tale, as fast-thinking neighbor Gianni Schicchi teaches the avaricious family a hard lesson about the wages of their greed. The orchestra is reduced to six players, with harmonium contributing a pleasing, authentic sound to the score. Miller keeps a firm grasp on the multiple overlapping vocal lines, allowing the delightful music to be appreciated with clarity.

The cast expands to 14 for Gianni Schicchi, and while the performers are not quite as well matched, there is still plenty to enjoy.

As Schicchi’s darling daughter Lauretta, young soprano Rebecca Rashleigh shines in the evening’s best-known aria “Oh, my dear papa (O mio bambino caro).” James Payne is a lively presence as the scheming Schicchi.

Co-directors Nicholas Cannon and Jane Millet have set the work in present day, and while this means it does not make all that much sense for people to be coveting a mule, the link of the mule (played by guest-star Milky White) between the two operas leads to some nice comic moments.

Hall’s costumes create suitably garish mishmash of Eurotrash. His one odd choice here is for romantic male lead Rinuccio (Nick Renfree-Marks), whose skintight shirt and trousers make him look greedy like the others rather than a wholesome match for Lauretta.

Double bill The Spanish Hour and Gianni Schicchi plays at Chapel off Chapel until 19 March.

MSO hosted a wonderful stroll down music theatre memory lane with a highly talented assemblage of musicians.

On the beautiful Melbourne afternoon, acclaimed Welsh baritone started the show with “Oh What A Beautiful Morning.” Terfel previewed his upcoming role as Tevye in Fiddler on The Roof with the epic ballad “If I Were A Rich Man.” From the outset, a hallmark of Terfel’s style was his relaxed, amiable stage manner. It was clear that he was extremely well rehearsed, knowing the songs inside out, yet he made each number seem spontaneous and fresh, as if not only the sentiments of the lyrics but also the dynamics and tempo of the music were just occurring to him as he went along. The audience was able to relax and enjoy the gorgeous music, knowing they were in extremely capable hands.

Speaking of capable hands, waving the baton with supreme assurity was maestro Bramwell Tovey, a sterling musician and a genial host for the afternoon.

Lisa McCune recreated some of her greatest stage hits, singing Sarah’s “If I Were A Bell” from Guys and Dolls and Nellie’s “Wonderful Guy” from South Pacific. “I Have Confidence,” from the movie of The Sound of Music, was also included. While McCune’s voice is a little slight compared to Terfel’s mighty power, her soprano is nonetheless exactly the sort of voice for which these songs were written, and her sunny charm shone through. Tovey accompanied McCune on grand piano for a swinging version of “If I Were A Bell” as well as the Gershwin’s “Summertime,” in which he played a delightful, jazz-infused interlude.

Given that the majority of selections were from the Golden Age of Broadway, it was a thrill to hear “Wheels of A Dream” from Ahrens & Flaherty’s Ragtime. This soaring duet closed act one, and was the first time Terfel and McCune sang together.

One of the real thrills of the concert was the opportunity to hear these classics with an orchestral accompaniment far beyond even the most generous Broadway standard. The musicians showed themselves to be great sports, shouting “Mambo!” during Bernstein’s thrilling overture for West Side Story. The “Carousel Waltz” sounded absolutely superb.

Act two opened with lesser-known Richard Rodgers piece “Slaughter on Tenth Avenue”, the ballet from On Your Toes, a revelation of rich melodies.

In the second half, McCune sang “Show Me,” a song written for My Fair Lady’s Eliza Doolittle (one of the few great soprano roles that McCune has not played). Tovey showed a fine way to treat a Steinway as McCune sang Irving Berlin’s “I Love A Piano” with girlish glee.

Only a couple of days shy of St Patrick’s Day, Terfel deviated from the Great White Way for an Irish bracket, kicked off by perennial favourite “Danny Boy.”

While Terfel did not treat us to a sneak peek of his Sweeney Todd (about to open at ENO), the concert did contain a little Sondheim. Tovey tinkled the ivories with a mesmerizing arrangement of “Send in the Clowns” from A Little Night Music, and McCune, who played Cinderella in the 1998 MTC production of Into the Woods, performed “On The Steps of the Palace.”

All too soon the afternoon was coming to a close. Terfel gave a stirring rendition of baritone classic “Some Enchanted Evening” before McCune joined him for a charming arrangement of Annie Get Your Gun‘s “Anything You Can Do” and an encore of sentimental favourite “Edelweiss.”

Bryn Terfel and Lisa McCune Sing Broadway Classics was reviewed at Hamer Hall at 2pm Sunday 15 March 2015.

MSO presents Bryn Terfel in Berlioz’s The Damnation of Faust at Hamer Hall on 20-21 March 2015.

Photos: Tim O’Connor

MSO presents a lustrous performance of Berlioz’s The Damnation of Faust, in which the superb orchestra, soloists and choirs create a whole that is greater than the not inconsiderable sum of its parts.

The mighty MSO, international soloists, and a choir more than 100 strong combined to bathe Hamer Hall in a shimmer of glorious music. Best heard as a concert, but rarely heard at all in Australia, The Damnation of Faust is two concentrated hours of rapturous music in which each melodic invention is more beautiful than the last.

In the opening minutes, as Faust sings of the beauty of spring, the music is so evocative that it takes several minutes to realise that there are no surtitles. Softly illuminated house lights allow the excellent program notes to be referenced during the concert, and the clarity of musical expression does the rest.

Berlioz’s extraordinary music gives the orchestra has manifold opportunities to demonstrate its supple versatility, as the score charts its way through prayers, military parades, drinking songs and romantic arias and duets. The orchestra shines throughout, but none more so than in various musical interludes such as the charming “Dance of Sylphs” in part two and the frenzied “the Ride to the Abyss” in the final stretch of part four.

Maestro Sir Andrew Davis channels his passion for the score into coaxing the loveliest of playing from the musicians, particularly in pianissimo phrases. Davis’ extensive knowledge of the music allows him to bring out the full colour and richness of Berlioz’s concepts. Davis’ utter confidence with the tempi and the range of styles facilitates seamless transitions within each of the four “parts” of the opera. Each of the first three parts builds to a big finish, and Davis ensures that soloists, choir and orchestra are perfectly balanced, with each aspect of the complex music blending to a distinct yet impeccably cohesive whole.

While Bryn Terfel is the big name drawcard to this event, English tenor Andrew Staples proves an absolute revelation as Faust. Staples lovingly caresses the French lyrics, demonstrating wonderful phrasing and diction along the way. His tireless tenor has a sweet purity that is an absolute pleasure to hear. The strength of his sound comes from faultless support of breath, completely avoiding any tendency of the kind of high volume that verges toward shouting. In the absence of a director for the concert, Staples still manages a good amount of interaction with his colleagues so as to enhance the storytelling. His rendition of “Invocation to nature” is a highlight of the evening.

Charismatic bass-baritone Terfel is in his element as the mischievous Méphistophélès, a character whose wily charm masks his sinister malevolence. Terfel sings the role with effortless flair, deftly switching from lively pieces such as “Song of the flea” to more sonorous and seductive music such as “Here are roses.” Terfel presents as a top class artist who is not only in full control of his talent but also conveys an infectious thrill in his love of performing.

The stage receives a touch of glamour after interval, as Croatian mezzo-soprano Renata Pokupić make an auspicious Australian debut. Projecting a serene and gracious manner, Pokupić’s singing characterises Marguerite’s intoxicating beauty, and she also captures the fragility of the innocent heroine. Pokupić starts off gently with Marguerite’s aria “The King of Thule,” and reaches full flight with the Romance “Love’s Burning Flame.”

As part three reaches its finale, Faust and Marguerite’s duet expands to a trio with Méphistophélès, and when the choirs join in as well, the effect is absolutely thrilling.

Australian bass Shane Lowrencev gives a solid cameo performance as student Brander, whose song “Song of a rat” ends with a wickedly ironic grand “Amen.”

The Melbourne Symphony Orchestra Chorus is joined by Men of the Sydney Philharmonia Choirs to create a vast massed chorus. MSO Chorus master Jonathan Grieves-Smith and Sydney Philharmonia Choirs music director Brett Weymark have clearly made excellent preparation with their singers, particularly with French enunciation. The chorus certainly has no difficulty in singing the roles of angels.

Speaking of angels, Melbourne mezzo Dimity Shepherd has a heavenly cameo in the final moments of the night.

Surtitles may have aided audience accessibility, and the soloists definitely needed music stands, but these are the smallest of quibbles after a glorious evening of world-class music.

MSO presents The Damnation of Faust once more at Hamer Hall, Arts Centre Melbourne at 8pm on Saturday 21 March 2015. The performance will be broadcast live on ABC Classic FM.

The The Damnation of Faust program can be read online.

Man in Chair reviewed Bryn Terfel and Lisa McCune in MSO’s Broadway Classics.

Photos: Daniel Aulsebrook

The Importance of Being Miriam is a candid, frequently hilarious and often touching journey through both a charmed career and the literary treasures of great authors.

Winning us over with her delightfully self-effacing candour, Margolyes holds court in a gently endearing manner, allowing the stories and excerpts to work their wonder. Despite the successful screen career, there is no clip reel of highlights, just Miriam in the flesh, a sprightly 73 with a memory as sharp as ever.

Our conduit to a world of royalty, Hollywood and Broadway, Margolyes tells delightful tale after delightful tale, each told with exquisite comic timing and each set up to a hilarious punchline. Her gift for mimicry enhances the storytelling, as she presents us with Maggie Smith, the Queen, Baz Luhrmann and sundry folk from around the globe.

Watching Margolyes work for an extended time like this, it is apparent that her gift for mimicry extends beyond mere voices. Her facial expression and body language change perceptibly with each character, even during rapid conversation between two characters.

Given the even quality of the performance, highlights of the literary and dramatic excerpts are difficult to pick. The Coaster Coster in Court gives us an early pre-cursor to Vicki Pollard. Act one concludes with a scene from hit play Gertrude Stein and a Companion.

The second act is just a bit heavier on scripted scenes and lighter on personal stories, but interest rises as we come to more well-known characters, such Juliet’s Nurse, Lady Bracknell and Miss Havisham.

While the anecdotes are mostly humourous, there are also tender moments, such the reading of Clive James’ Japanese Maple a beautiful reflection of life near its end. Margolyes has the courage to conclude the show with a pair of dramatic stories from her family history. There is no sugarcoating or call for sympathy, just the frank re-telling of two very difficult times.

Director Peter J Adams has expertly drawn out a fascinating range of life stories, shaping them into a natural flow of reminiscences, in which Margolyes appears to be spontaneously recalling the tales as the show unfolds. The finished product is far better than overhyped shows, such as the Barry Humphries Farewell Tour, with its crass content and gaudy spectacle.

Pianist John Martin acts as accompanist, soloist and confidante. Adept at a range of musical styles, from music hall to classical, Martin’s own compositions, in which he sets famous text to music, are most impressive.

Matthew Aberline’s set design splits the action between a comfy lounge chair and a chaise lounge, each surrounded by piles of well-read manuscripts. A worn checked rug completes the “lived in” vibe, with a grand piano and a sweeping curtain adding a touch of theatricality.

Robert Cuddon’s lighting neatly punctuates the material, as do the musical interludes. The varied approach, however, means that there is no sense formula to the proceedings. Marion Boyce dresses Margolyes in a generous frock then a pants suit, each featuring a bit of extra sparkle in the fabric.

Do not miss the chance to revel in the company of international treasure Miriam Margolyes.

The Importance of Being Miriam plays at Playhouse, Arts Centre Melbourne until 22 March 2015.

The Melbourne season of The Importance of Being Miriam was the first of a 16-venue Australian tour, including further Victorian dates.

Photos: Gavin D Andrew

A critic-proof show if there was one, all that remains for a reviewer to do is point out that Walking with Dinosaurs - The Arena Spectacular is back and then let the ticket buyers do the rest.

Despite having been seen by a reported 7.3 million people, this was my first visit to Walking with Dinosaurs. Fortunately, I had an expert guide in young Master Ten, aka Nephew in Chair, who gave the show a resounding A+.

A show that can really only be experienced live, the miraculous aspect of the puppetry (if that is even the right word) is the incredible range of expression and movement that the dinosaurs can achieve. Physical and facial movements are extraordinarily graceful, achieving a fluidity that belies any of the mechanics involved.

The production design makes ample use of the broad playing space, which is impregnated with all manner of hidden vegetation, flora, dinosaurs and their eggs. Under the running commentary of an enthusiastic paleontologist, the history of the rule of the dinosaurs unfolds in a neatly paced way that builds to the climactic arrival of everyone’s favourite, the mighty Tyrannosaurus Rex.

The musical soundtrack adds atmosphere and tension, and lighting is reliably impressive. The rear screen is put to great use in an elegant sequence showing the flight of a Pterosaur.

The script contains plenty of interesting scientific information, the inclusion of which is a reflection of the lack of Disneyfication overall. A few jokes for the parents aside, the show tales itself seriously, and its content stands up to this approach magnificently. The pace is a little ponderous at times, but there is so visual appeal to absorb that the extra viewing time is appreciated.

Blue chip family entertainment, Walking with Dinosaurs more than lives up to the hype.

Walking with Dinosaurs plays at Hisense Arena until 29 March 2015 before touring to Brisbane, Newcastle, Perth and Adelaide.

In a ravishing display of the depth of her extraordinary talent, American soprano Latonia Moore outshines camels, fireworks and dancing girls to walk away with the fourth annual Handa Opera on Sydney Harbour. Playing the title role of Aida means that, fortunately, the show is already hers for the taking.

Now an established, and highly anticipated, annual event, Handa Opera on Sydney Harbour finally presents inevitable outdoor spectacle Aida, camels and all. Equal parts social and cultural event, the hospitality, ambience and twilight setting are all second to none. Many visitors to Sydney are attracted to see an opera inside the Opera House, but when used instead as a backdrop, along with its iconic bridge partner, the effect is utterly magical.

Experienced director Gale Edwards has delivered a far more interesting and engaging production than the superficial flashiness of 2013’s Carmen, Edwards shows great respect for the intimate love triangle at the heart of Aida, allowing the many personal and poignant moments to breathe undisturbed on the massive stage. Using light and colour to make the performers feel vividly close, Edwards successfully achieves the miracle of establishing an affecting bond between performer and audience despite the massive size of the 3000-seat arena. In short, Edwards delivers an operatic experience over and above a stadium experience.

In a modern, but generally nondescript, period, the crumbling façade of Queen Nefertiti keeps an eye over a fortress of sorts, which is stashed full of golden treasures and barrels of fuel. Designer Mark Thompson has balanced the grand and the functional, providing a vast playing space that gives plenty of room for Edwards to stage the requisite eavesdropping, spying and furtive glancing that can seem cramped and unrealistic on a regular stage.

Nefertiti rotates to have a look at the city skyline reveal a mighty altar for the return of the conquering Egyptian army. In a well-considered touch, Edwards offsets the avaricious procession of the spoils of war with two long rows of the coffins of fallen Egyptian soldiers. The cruelty of war is also seen when Radamès is kept onstage for his trial, during which he is held by long ropes and summarily tormented.

The performance space works brilliantly in all scenes except the very last, in which a mess of haze and lights leaves only those familiar with the plot capable of recognising the scene as supposedly representing an underground tomb. One other curious misfire is a rectangular frame that rises in the trial scene and seems to serve no purpose other than to partially spoil the sightlines.

Thompson distinguishes the four acts through use of colour, significantly aided in this regard by the lighting design of Matt Scott. From regal reds and golds to dusky violets and blues, the palette is played out through the lighting and costumes to create rich visual appeal. Thomson’s costumes are sumptuously lavish on a grand scale. The colour-drenched African fabric for Aida, and fellow slaves, is stunning. Ina a humorous touch, the ladies of Amneris’ court have clearly taken the western-style of dressing too far, looking like Southern belles on steroids. The mix of periods in military uniforms is somewhat confusing, but presumably this is a deliberate choice. Mention must be made of Ramfis’ giant cobra headpiece, which is as witty as it is terrifying.

Choreographer Lucas Jervies fills the stage with movement at key moments, but his level of invention does not begin to approach that of Edwards and Thompson, leaving the dance as rather irrelevant overall.

Maestro Brian Castles-Onion balances the oversized stage spectacle with a sensitive, nuanced performance of Verdi’s immortal score from the augmented Australia Opera and Ballet Orchestra. Castles-Onion has clearly put meticulous preparation into the music and this pays off handsomely.

Sound, by Tony David Cray, is clear and strong for the most part, but verges on the loud and slightly harsh at times. Reproduction of multiple voices at once is more of a challenge. This quality may be corrected as the season progresses.

Chorus work, lead by Anthony Hunt, is reliably well prepared.

Moore is in wondrous form as passionate slave/princess Aida. In “Ritorna vincitor” her voice is strewn with lust and longing, and these colours are further enhanced in Aida’s soaring anthem “O Patria Mia.” Finally, Moore achieves the sound of an angel as Aida prepares for death with the man she adores. Above all the glitz and glamour, this production is worth attending just to hear Moore in this role.

In a well-matched stage partnership, Milijana Nikolic gives an extremely impressive and exciting performance as Aida’s bitter rival Amneris. Radiating a magnetic presence, Nikolic is never anything short of compelling, and her sterling mezzo-soprano is a true pleasure to hear.

Trailing these dazzling female leads is the lackluster performance of visiting tenor Walter Fraccaro. Clearly experienced in the role, and with a reasonable amount of lungpower, Fraccaro nonetheless has an unsettling tendency to wobble very slightly on the notes. The amplification does him no favours in terms of producing an attractive sound. Worst of all, Fraccaro seems to “phone in” his performance, making no effort for any sort of chemistry with Moore. To have this performer on the stage while excellent Australian Radamès Rosario La Spina sits in the audience is a curious and disappointing situation.

Fine bass David Parkin pours forth in rich, resounding tones as high priest Ramfis (he of the cobra headdress). Michael Honeyman gives a commanding performance as Aida’s father Amonasro, lifting the stage energy from his first appearance. Eva Kong distinguishes herself as the High Priestess.

As a fully realised piece of entertainment, Aida is sure to be embraced by all but the most die-hard opera purists, and is set to continue the Handa Opera on Sydney Harbour of introducing newcomers to the magic and majesty of grand opera. Miss it at your peril.

Handa Opera on Sydney Harbour Aida plays at Mrs Macquarie’s Point, Sydney until 26 April 2015.

Man in Chair has also reviewed Handa Opera on Sydney Harbour:

La Traviata

Carmen

Madama Butterfly

Photos: Prudence Upton

Already a helluva show, this vivid, technicolor revival makes On The Town the sprightliest 71-year-old on the block.

Harking from the very dawn of Broadway’s golden age, On The Town enjoys the blue chip pedigree of Leonard Bernstein’s rapturous, pulsing score and the delectable book and lyrics of Betty Comden and Adolph Green.

Created in the heyday of Broadway choreography from the likes of Jerome Robbins and Agnes de Mille, the most delightful rediscovery of the show is the extensive use of choreography as storytelling. Relative Broadway newcomer Joshua Bergasse captures Robbins’ original style, providing absolutely stunning choreography as he returns a distinctly balletic vocabulary to the Broadway stage.

The featherlight triple boy meets girl concept of the plot allows the audience to just sit back and enjoy the show as three sailors spend a whirlwind 24 hours discovering the pleasures of New York City. Director John Rando keeps the energy sky high and the comedy broad.

With a nod to the highly respectful treatment of the score in the South Pacific revival Bernstein’s music sounds wonderful as played a 28-piece orchestra, who are acknowledged and applauded in the same manner as an opera or ballet orchestra. Thankfully, the music has been preserved on a new two-disc cast recording.

The patriotic production features the stars and stripes as its showcloth, and begins with the audience standing to join in singing US anthem “Star-Spangled Banner.” Beowulf Boritt’s bold design is awash with vibrant Superman tones of red, yellow and royal blue. Further wit and colour are found in Jess Goldstein’s delicious costumes. As well as a glossy tarkett on the floor, a rear full-size perspex screen provides extra reflection of the gorgeous dancing and costumes. Animated silhouette projections enhance the effect of the subway and wild taxi rides.

Heading a cast of true triple threats, leading man Tony Yazbeck gives a performance for the ages as Gabey. Handsome and muscular, Yazbeck’s singing voice is as pure and charming as his dancing is effortlessly stunning. Best of all, he has an understated, modest style that belies his mammoth talent and makes his work all the more endearing. Jay Armstrong Johnson (Chip) and Clyde Alves (Ozzie) complete the trio of lively sailors, each singing and dancing in stellar style.

As Ivy, aka Miss Turnstiles July, Megan Fairchild is a lovely partner for Yazbeck, delivering sweet singing and wonderfully balletic dancing. As spontaneous good tie girl Claire de Lune, Elizabeth Stanley has the infectious character presence of a young Sherie Renee Scott. Curvaceous stunner Alysha Umphress wins a generous share of audience affection as bawdy taxi driver Hildy.

Sadly, inspired comedienne Jackie Hoffman is still sidelined with a foot injury. Allison Guinn, however, provides plenty of laughs standing in as Madame Dilly and the determined Little Old Lady. In a variety of supporting roles, Phillip Boykin determinedly channels 2015 Tony winner James Monroe Iglehart, even dressing like Aladdin’s Genie at one point.

On The Town is as much a tourist attraction as any of the sights mentioned in its story. The classy music and choreography add significantly to the recommendation to catch this show.

On The Town was reviewed 8pm Saturday 28 March 2015 at Lyric Theatre, New York

Photos: Joan Marcus

All aboard for a generous slice of music theatre heaven as Roundabout Theatre Company revive decedent backstage musical On The Twentieth Century.

A charming companion piece for On The Town (they even sit side-by-side on 42^nd St), 1978 Cy Coleman musical On The Twentieth Century is a delectably daffy return to the heyday of glamourous train travel. Producer Oscar Jaffee uses the 16-hour Chicago to New York journey on the Twentieth Century to entice former muse Lily Garland back to headline his next play.

The show is testament to the lengthy careers of book and lyric writers Betty Comden and Adolph Green, coming some 34 years after they penned On The Town. It also shows how their skills at running jokes had improved in the interim; the gag about everyone having written a play pays dividends.

Coleman adopted an operetta-like style for the score, writing around twice as music as for similar musicals, and providing a strong early example of songs that advance the plot.

While most of the show is set on David Rockwell’s sumptuous art deco train interior, the storytelling is enhanced with a couple of fabulous cutaway numbers. In a sequence reminiscent of Mack and Mabel, we see Jaffee discover awkward Mildred Plotka and soon she is glamourous Lily Garland starring in farcical French musical “Veronique.” In act two, “Babette” sees Lily imagine herself squeezing elements of Mary Magdalene into a rival producer’s new play.

Costume designer extraordinaire William Ivey Long distinguishes himself yet again as he continues the art deco theme with a dishy array of fabulous fur-trimmed period outfits. Lily’s magical fast change, a characteristic feature of Long’s work, is achieved with characteristic flair.

Four sensational tap-dancing porters get the best of the Warren Carlyle choreography. Entertaining company numbers, such as “Never” and “She’s An Nut” feature nimble big picture choreography of scenic elements and the ensemble cast.

Reduced to thirteen players, the orchestra is a little thin for the demands of the score. The coming cast recording, however, will be most welcome.

A successful screen artist making a return to the stage, popular star Kristin Chenoweth plays Lily, a successful screen artist making a return to the stage. The role provides abundant opportunity for Chenoweth to display both her crystalline soprano and her delightful comic skills. Her characterisation of stiff, bossy Mildred is a hoot, and she enjoys clear chemistry with both her leading men. Seeing Chenoweth in full flight here is on par with Idina Menzel’s star turn in If/Then last season.

Stellar leading man Peter Gallagher neatly offsets Chenoweth’s madcap energy and keeps the comedy grounded with a deftly understated characterisation of passionate producer Oscar Jaffee. Gallagher’s singing voice retains its charming, almost Sinatra-like casual masculinity.

Andy Karl makes good use of the muscles he put on last season as Lily’s vainglorious boyfriend Bruce Granit. Mary Louise Wilson is a hoot as delightfully dithering dame Letitia Peabody Primrose.

Michael McGrath is not quite given the meaty comedy that helped win a Tony for 2012’s Nice Work If You Can Get It, but he and Mark Linn-Baker provide much of the comic foil work as grasping showbiz types Owen and Olive.

On The Twentieth Century is manna from theatrical heaven for lovers of classic musical theatre. Don’t miss the train.

On The Twentieth Century plays at American Airlines Theatre until 5 July 2015.

Photos: Joan Marcus

Five superb lead singers distinguish Met Opera’s revival of the 2010 co-production of Verdi’s epic drama Don Carlo.

Rising tenor Yonghoon Lee looks set to take the next step to fame after an electrifying performance in the title role. On stage alone to open the show, Lee absolutely nails Carlos’ big aria “Io la vidi.” The crowd roars their approval, and the tone is set for a glorious night of music.

Visibly relaxed after the successful beginning, Lee beams with confidence throughout, and the stage energy noticeably lifts in his every scene. A key strength of Lee’s tenor is the even tone between mid-range and high notes; he soars up and down his register with no change of vocal style. Coupled with the wonderfully romantic sound he produces, this is a voice to treasure.

For this co-production (shared with Royal Opera and Norwegian Opera and Ballet), Nicholas Hytner has the ingenious concept of using lavish, detailed period costumes against clean, post-modern, stylised interpretations of the settings. The striking effect begins with a stark white winter forest, where a hunting party in gorgeous midnight blue is seen. From there, designer Bob Crowley using a dramatic palette of blacks, reds and gold. Lighting designer Mark Henderson keeps the actors clearly seen but using plenty of shadow for added menace. The climactic reveal of the burning heretics behind the giant cloth showing Christ’s passion is a particular highlight in the lighting effects.

Revival stage director J. Knighten Smith tempers the energy of the surging crowd scenes with the quiet stillness of the interplay between lead characters.

Maestro Yannick Nézet-Séguin leads the Metropolitan Opera Orchestra in a pristine performance of the score. Sweet playing from the strings contrasts nicely with the occasional booming effects required from the brass. Wherever possible, Nézet-Séguin enjoys bringing out the playful sequences of the music.

Italian bass Ferruccio Furlanetto is well established in the role of tormented King of Spain, Philip II. After the heightened activity of act three, Furlanetto’s performance of “Ella giammai m’amò” is a masterclass in quiet introspection. Such is his level of control, the booming bass voice flows out powerfully with little sign of effort from Furlanetto.

The subsequent duet with James Morris, as The Grand Inquisitor, doubles the thrill with a pair of basses singing together.

In supremely fine voice, Dmitri Hvorostovsky runs the gamut as Rodrigo, Marquis of Posa, moving from loving friend to scheming ally, to courageous soldier, to fearful mortal. Perfectly matched by Lee, the pair delivers a brilliant rendition of the friendship duet “Dio, che nell’alma infondere.” Hvorostovsky’s scene with Furlanetto at the end of act two, as Posa cultivates the King’s confidence, displays the intensity and spark that are hallmarks of his work. A performer more accustomed to displaying such bravado, Hvorostovsky transforms his acting style as Posa faces death, matching this with an extraordinary change in vocal technique to communicate Posa’s wavering courage. This final scene of Hvorostovsky’s was extremely affecting.

Italian soprano Barbara Frittoli has a sweet and gentle style that is well suited to roles such as Micaëla and Mimi. As Elisabeth, in love with Don Carlos but forced to marry his father Philip II, Frittoli lacks a certain fire and presence. She is wonderful, however, in scenes calling for tenderness, such as Elisabeth’s fond farewell to her lady-in-waiting: “Non pianger, mia compagna.”

As the glamorous Princess of Eboli, Russian mezzo-soprano Ekaterina Gubanova is ideally cast. Her Veil Song “Nel giardin del bello” is a charmingly feminine delight after all the male-centred action to that point. Gubanova also impresses in the act three trio with Lee and Hvorostovsky, scoring extra points for playing the scene so straight despite the melodramatic developments that occur.

A special mention goes to the six men playing the Flemish Deputies, whose singing is notably excellent.

Even at 270 minutes (including two intervals), the time fairly flies by as the combined efforts of Verdi and the production team and cast deliver a thrill a minute. The Met has served the piece extremely well by assembling such sterling singers for this revival.

Don Carlos was reviewed at Metropolitan Opera House, New York 7pm Monday 30 March 2015. It plays selected dates until 25 April 2015.

Photos: Simon Parris

Placido Domingo and James Levine, a pair of sentimental favourites and masterful talents, draw much audience affection at Met Opera’s revival of Ernani.

A sequel, of sorts, to current stablemate Don Carlo, Verdi’s Ernani is essentially the tale of a soprano pursued by a tenor, baritone and bass. Elvira loves Ernani but is forced to marry her uncle, de Silva, and is also pursued by no less than Don Carlo, King of Spain.

Verdi’s fifth opera is a terrific example of his melodic skill, his love of pulsing choruses and his innate knack for the overall theatricality of setting stories to music. The opera features a wealth of wonderful, instantly accessible arias that are both its strength and its downfall. The action is restricted by stopping for aria after aria, and never builds up any pace or excitement.

Coupled with this is the dreary stage direction by Peter McClintock, which features little more than a static stand-and-sing style. Chorus direction is even drearier, with their lack movement at odds with the rousing music they are often singing.

Pier Luigi Samaritani ‘s production originated in 1983 and, while it is designed on a suitably grand, sweeping scale, it is no surprise that the staging is highly traditional in execution. Act three features probably the most exciting visual, with a life-size statue of a horse and knight above a tomb, around which a staircase curves up to dizzying heights.

Having been designed by Peter J. Hall, costumes are reliably lavish, detailed and historically evocative.

Fortunately, the evening is well and truly elevated by the virtuosic singing of the four lead performers and chorus.

Italian tenor Francesco Meli, as Ernani, sings with a consistently thrilling tone that many tenors produce just for high notes. Meli exhibits crisp Italian diction, his singing also characterised by the way he lovingly caresses romantic phrases. Meli’s tenor rings out over the large male chorus at the end of act two as Ernani agrees to take his life when de Silva sounds the not-so-happy hunting horn.

As leading lady Elvira, American soprano Angela Meade demonstrates exquisite control of dynamics, and adorns key phrases with gorgeously attractive ornamentals. In ensemble pieces, Meade’s luscious soprano rings out over the entire chorus. Meade maintains a focused, gracious presence as the saintly Elvira, never allowing a hint of melodrama into proceedings.

Legendary vocalist Plácido Domingo remains a wonder, the voice an incredible case study in vocal preservation. His role of Don Carlo is a younger man and even though his hair, eyebrows and goatee need to be coloured black, the man himself still provides plenty of virility in his own right. Domingo’s singing still has the characteristically expressive tone, but the power is not quite on par with his three colleagues. At the opening of three, as Carlo waits to see if he will be named Roman Emperor, Domingo’s rendition of cavatina “Oh, de’ verd’anni miei” is a lovely highlight of the night.

Ukrainian Dmitry Belosselskiy unleashes his mighty bass as the nefarious Don Ruy Gómez de Silva. Belosselskiy has a particularly pure and unwavering tone that rings out strong and clear. He plays the villain completely straight, as a man who simply believes that he a right to a beautiful young maiden and all others can be damned.

Beloved maestro James Levine rises to the warmest of welcoming applause, and leads the Metropolitan Opera Orchestra in a confident, rousing and splendid rendition of Verdi’s rhythmic, melodious score.

Ernani was reviewed at Metropolitan Opera House, New York 7.30pm Tuesday 31 March 2015. It plays selected dates until 11 April 2015.

Photos: Simon Parris

A truly thrilling new work of high class and polish, An American in Paris is the rare new musical aimed mostly at a discerning adult audience. While the use of the term “a new musical” in relation to a collection of Gershwin standards is wearing little thin, when the music is this infectious no one is really complaining. “I Got Rhythm,” “’S Wonderful,” and They Can’t Take That Away From Me” have been heard in other recent musicals, but when the score is adapted and arranged by Rob Fisher you know you are in very safe hands, and the orchestra of 19 sounds wonderful. The production achieves an integration of artistic and creative elements that is thoroughly realised. Having a single director/choreographer allows for a seamless vision in which dance flows organically in and out of scenes. The show is largely told through dance and is also about dance. Christopher Wheeldon choreographs not only the incredible cast but also the scenery, props and costume changes. Scenery dances into place so naturally that each new scene is not evident until a final lighting cue, from Natasha Katz, completes the picture. As the show progresses, the methods of storytelling blend to the point that it does not matter whether the plot is being advanced by text, lyrics or dance. The audience is completely absorbed in the world on stage and is completely cognisant of the dance vocabulary in use. Prolific designer Bob Crowley aids the cinematic flow, which, when combined with projections by 59 Productions, creates fluid visuals that are even more beautiful to watch than a movie. A scenic highlight is the recreation of the grand interior of Galeries Lafayette. The multitude of Crowley’s costumes is not only eye-popping but also creates a fascinating, rich cross section of society. A grey prologue signals the end of Nazi occupation of Paris, and the city slowly blooms back into colour. Observing the kindness of selfless young Lise Dassin, Jerry Mulligan rips up his train ticket and stays, as does his injured, sweetly nerdy friend Adam Hochberg. Jerry is a designer and Adam is a composer, so they find a way in the to Lise’s ballet, which is sponsored by woman-of-means Milo Davenport.  Fey Mama’s boy Henri Baurel covets Lise, and Milo courts Jerry. While the story could be boiled down to a “love quadrangle,” Craig Lucas’ book gives the characters have a richness beyond the superficial. Henri seems insipid but fought bravely in the resistance during the war. Adam is a clown but harbours unrequited love. Jerry is ostensibly the good guy, but deliberately exposes Henri’s singing career and knocks over crippled friend Adam. A happy ending seems inevitable, but the path is an intriguing and involving one. Wheeldon casts the story aside momentarily in act two for a fabulous showstopper to “I’ll Build A Stairway To Paradise,” as Henri imagines his song and dance routine in New York. Wheeldon also pokes fun at his primary genre with a mock-classical performance piece about Uranus. The term triple threats is often bandied about, but these performers are the real deal. While dance is their chief strength, they are charming, natural singers. The real appeal, however, lies in the natural integration of their talents. Particularly when they dance, they are always acting. Handsome dancer/singer Robert Fairchild is dream casting as leading man as Jerry. Charismatic Leanne Cope underpins Lise’s vulnerability with a core of iron. Brandon Uranowitz is a goofy delight as Adam. Max von Essen is all class as Henri. Jill Paice is a little young to play society matron Milo, but she channels Cate Blanchett to create a sensual characterisation and she looks a million dollars. Veanne Cox and Scott Willis give sterling support as Henri’s blue blood parents. Along with On The Town, the presence of An American in Paris makes for an exciting season for fans of pure music theatre dance. An American in Paris was reviewed at 8pm Wednesday 1 April 2015 at Palace Theatre, New York. Official opening night is 12 April 2015. Photos: Angela Sterling

An obvious and appealing title to become a stage musical, The Hunchback of Notre Dame features soaring music and heightened drama packaged in a impressive and inventive production. With a score including songs from the Disney film but a book written by revisiting the Victor Hugo novel, the focus shifts in favour of an adult audience, with dark dramatic themes driving the action. The result is much more Les Misérables than The Lion King. Peter Parnell’s book is void of Disney homogenisation, with hunchback Quasimodo being deaf with related speech difficulties, and his keeper Frollo hiding insidious, lustful urges behind the façade of his holy orders. The ending of each act is loud and dramatic, and the final denouement is certainly not the patented Disney happy ever after. Two Broadway titans have joined forces to write the compelling score. Alan Menken’s music and Stephen Schwartz’s lyrics fit so naturally with their film songs that it becomes very hard to pick the difference. Plenty of storytelling occurs through the songs, and they provide numerous climactic moments with big finishes. Quasimodo (Michael Arden) has the early I wish classic “Out There,” as well as the gorgeous “Heaven’s Light” later in act one.  Frollo (Patrick Page) reveals his lustful demons in searing power ballad “Hellfire.” Esmeralda (Ciara Renée) has the sweet 11 o’clock number “Someday,” which was heard over the closing credits of the Disney film. This song clinches the Les Mis connection , based on the fate that befalls heroines after they sing their big ballad. Produced on an impressive scale, the stage features an elaborate two-storey wooden construct representing Notre Dame cathedral. The mighty bells, so often referred into in song, hang overhead, and various locations are created with imaginative combinations of benches and balustrades. The lush choral singing is supported by 32 choristers, who are seated on rear pews. In a feature moment, this choir sings the entr’acte in Latin. Director Scott Schwartz (son of Stephen) uses an interesting concept in which the full company is dressed in grey robes, which are briskly discarded as they take on the various characters throughout the story. This includes Arden as Quasimodo, who puts on his dirty face paint and hump in plain sight after a Wicked-style prologue that explains the origins of the unwanted baby. With its adult themes, The Hunchback of Notre Dame is not a neat fit for the Disney brand, so it will be interesting to see if the show ever makes it to Broadway. The Hunchback of Notre Dame was reviewed at 1.30pm Thursday 2 April 2015 at Papermill Playhouse, New Jersey, where it plays until 5 April 2015. Footnote: If you are in New York and notice an interesting show playing at the Papermill Playhouse, go out and see it! The train trip is only 30 minutes, and the theatre is a very short walk from the station. They even do Thursday matinees. Photos: Matthew Murphy

Who knew that Jason Robert Brown, king of the introspective power ballad, had such a splashy, dishy, old-fashioned musical comedy like Honeymoon in Vegas in him?

Everyguy Jack Singer faces dual, equally funny obstacles in wedding his shiksa goddess Betsy. On her deathbed, his determinedly possessive mother Bea cursed him of ever tying the knot. Summoning the courage to elope to Vegas, Jack falls victim to slick shark Tommy Korman, and is forced to negotiate a weekend for Tommy with Betsy to cover insurmountable poker losses.

The daffy pleasure of the show comes from the way it both takes itself seriously, in terms of the future happiness at stake, and also approaches the music theatre format with reckless abandon, knowingly breaking all sorts of conventions to delicious effect.

Based on his 1992 film, Andrew Bergman has written what is essentially a regular book musical that is grounded in reality, but then Bergman, Brown and director Gary Griffin have cut free and loose with the format, merging the lead characters with ghosts, showgirls, lounge singers, hotel guests and flying Elvises.

Already flying high, the night gets an extra burst of energy when the location shifts from Vegas to Hawaii in act two. The band, seen often on stage, change to Hawaiian shirts, and Brown demonstrates that he can a pen a traditional-sounding Hawaiian song of welcome as readily as he can write a traditional-sounding Las Vegas lounge song.

While the happy ending seems fairly well assured, the twists and turns along the way provide plenty of enjoyment. Best of all the cast all seem to be having as much performing the show as the audience is having watching it. Every member of the hard-working ensemble has their moment to shine in a featured role of some sort.

Rob McClure generates megawatts of nervous energy as Jack. Brynn O’Malley is lovable, and quite gorgeous, as Betsy. Tony Danza sneakily counts on his pre-established gregarious charm to twist the knife as Tommy’s nefarious side plays out. Plus he plays the ukelele and tap dances! In Streisand wig and thick horn-rimmed glasses, Nancy Opel is a hoot as Bea.

The Broadway run of Honeymoon in Vegas has come to an end far too soon. Hopefully it will have a future life on other stages. Meanwhile, the terrific cast recording will keep the memories alive.

Honeymoon in Vegas was reviewed at Nederlander Theatre, New York, where it plays its final performance Sunday 5 April 2015.

Photos: Joan Marcus

“I’m unkillable,” proclaims Claire Zachanassian, and her portrayer Chita Rivera might well make the same decree, as Kander and Ebb’s final musical The Visit makes its long-awaited visit to Broadway.

In development and out-of-town tryouts since 2001, the show has burnt through a leading lady (Angela Lansbury) and several leading men (Phillip Bosco, John McMartin, George Hearn, Frank Langella, John Cullum), as well as changes in production teams.

Stopping the show for at least a minute of wild applause on her first entrance, Rivera certainly seems to have been the right choice to drive this star vehicle. Her male co-star for the Broadway season is veteran actor Roger Rees.

The Visit is a dark, adult chamber musical with an intriguing blend of vengeance and romance. Each of the 16 players in the talented, highly experienced ensemble cast has their own significant role to play in the story.

The world’s richest woman, Claire has returned to the decrepit European hamlet of Brachen to take her long-awaited revenge on the town and its residents. When Anton (Rees) looks particularly eager for Claire’s arrival, it is clear that the two young Follies-like figures on stage are the embodiment of lovers Claire and Anton in their youth. This conceit reaches its zenith in 11 o’clock number “Love and Love Alone” as Claire dances freely with her younger self.

The musical evokes a range of emotional responses as Claire proceeds with the brutally cold logic of her plan, and the questions of right and wrong are left entirely for the audience to decide.

Director John Doyle employs a smattering of absurdist elements and Brechtian devices in the non-naturalistic style of the show. Bright yellow costume additions represent expensive, newly purchased items. Claire’s entourage of butler and pair of eunuchs wear white masks and black glasses. Claire’s set of black valises is used as all manner of props, and the ominous black coffin she brings becomes anything from a park bench to an automobile.

Rivera is in dazzling form, and has the audience in the palm of her hand throughout. She conveys the layers of wounds and hurt that have shaped Claire into the driven, cheerfully malevolent woman she is today. As if Rivera hasn’t looked youthful enough for the whole evening, when she runs out, beaming, for her curtain call somehow further decades melt away. For fans of Rivera, this production is simply unmissable.

Kander and Ebb have written an instantly accessible, highly romantic score full of lilting waltzes that suit the European setting. Given that every cast member is an accomplished singer/actor, the score sounds wonderful. A cast recording is highly anticipated.

Rees projects a likeable, scruffy charm as broken shopkeeper Anton Schell, adding to the enigmatic nature of the story by creating a sympathetic angle on the man who selflishly broke young Claire’s heart.

Strong support comes from the whole company, which contains exceptional talents Jason Danieley, Mary Beth Peil and Timothy Shew to name but a few.

The Visit plays at Lyceum Theater, New York.

Photos: Joan Marcus

Jam-packed with all the ingredients of a surefire smash hit, Something Rotten is funny without being unnecessarily smutty, and clever without being particularly original.

**check back later for production images**

The love child of Spamalot and The Book of Mormon, the fact that the show’s writers are relative newcomers gives it a fresh enough voice, it just does not have anything unique to say with that voice. There are, however, an abundance of hilarious moments. All manner of music theatre references are woven into the book and songs; the more savvy the audience member, the more they will get out of the rapid-fire references.

Brothers Wayne and Karey Kirkpatrick have written the songs, with British comic author joining Karey to write the book. The songs are instantly hummable, and repeat listenings will sure reap rewards with the brisker lyrics.

“A Musical” is the highpoint of act one, when (the nephew of) Nostradamus tells the desperate Bottom brothers about the future attraction of musical theatre. It is hard to imagine this number not being the Tony Award telecast selection, as the cast sings and tap dances through a pastiche of famous musicals from A Chorus Line to Annie.

Like The Book of Mormon, part of the comic effect comes from the musical style not matching the singers, as the renaissance folk here sing catchy lite-rock song after song. Also, there is the humour of conservative types reacting with shock to progress, with Puritans replacing Mormon elders here.

The Puritans break out in fabulous act two number “We See The Light,” featuring clever fast costume changes. As potentially closeted Brother Jeremiah, Brooks Ashmanskas has many a tasty line, all delivered with gleeful relish.

Director/choreographer Casey Nicholaw (of Aladdin, The Book of Mormon and The Drowsy Chaperone fame) keeps the energy and the laugh rate high, colouring the central storyline with all manner of witty details from the supporting players.

Nicholaw has cast top Broadway comic leading men Brian d’Arcy James (Nick Bottom) and Christian Borle (William Shakespeare). While this is an attraction, there is also the sense that they are almost too good, leading to a slight sense of smugness about the whole procedure. The raw, edgy fire is not there in this self-satisfied production.

There is, however, nothing rotten about Something Rotten’s production values. The 19-member band sounds terrific. Scott Pask’s scenic design is endlessly lavish. Gregg Barnes’ costumes are as extravagant as they are detailed.

John Cariani is a delight as nervous Nigel Bottom. Peter Bartlett rings out his distinctive plummy tone as wealthy Lord Clapham. Heidi Blickenstaff is a magnetic presence in the little she is given to do as Nick Bottom’s wife, Bea. It is hard to imagine anyone but Gerry Vichi as Shylock, the enthusiastic Jewish money merchant who yearns to invest in musicals.

Something Rotten is diverting, highly amusing entertainment. Musical fans looking to continue the fun times of The Book of Mormon, Spamalot and are other such comedies will find plenty to enjoy.

Something Rotten was reviewed 2pm Saturday 4 April 2015 at St James Theatre, New York.