Overflowing with heart, invention and wonder, new musical Finding Neverland is an artful, amusing and affecting night at the theatre.

Non-musical Motown has graciously vacated prime Broadway house the Lunt-Fontanne Theatre to allow a real musical to take up residence while it tours. The 2004 film Finding Neverland, which was in turn based on the play The Man Who Was Peter Pan, proves to be an excellent source for a musical. Besides its central, slow burn love story, much of the storytelling is of the ever popular backstage variety, with vain, preening actors, harried producers and the creation of magical special effects.

In much the same way that Saving Mr Banks relies on our knowledge of Mary Poppins, Finding Neverland is fairly safe in assuming that the audience is acquainted with the story of Peter Pan. We can appreciate the subtle storyline elements that keep suggesting themselves to J. M. Barrie as he moves from the shackles of his proper Edwardian marriage to a friendship with a lovely widow and her four rambunctious boys. Well, one boy is more withdrawn and downhearted after the death of his father, but Barrie eventually brings Peter out of his shell and back to the land of the living.

Masterful director Diane Paulus ignores the accepted advice and works with children and animals to conjure a magical world that is completely involving and engaging. Every member of the ensemble cast has a role, and when the full singing and dancing talents of the whole cast are unleashed in company numbers such as “Believe,” “We Own The Night” or “Live By The Hook” the effect is spectacular.

Gary Barlow and Eliot Kennedy’s songs are inserted in James Graham’s book in a slightly old-fashioned, predictable manner, but there a couple of modern musical scenes, such as at two opener “The Word Is Upside Down” as the precious actors try halfheartedly to adapt themselves to a children’s play. The energetic number “Play,” as the actors let loose and come around to the performing style required is really quite superb. There are gorgeous ballads as well, such as “Neverland,” for Barrie and Sylvia, and “When Your Feet Don’t Touch The Ground,” for Barrie and young Peter.

Scott Pask has designed a highly attractive performing space, with the main backdrop being a lush collage of verdant trees, Edwardian wallpaper and blue skies. Kenneth Posner ‘s lighting design adds to the magic, particularly in the creation of Tinkerbell. There is also a stunning special effect near the very end of the show, but it would be highly remiss to reveal anything at all about this.

Broadway is all the richer for the return of leading Matthew Morrison, the rare music theatre actor who is not only a triple threat but also balances authentically masculine energy with an endearingly vulnerable side. Almost never off stage, Morrison puts his heart into the show and the rewards are significant.

Kelsey Grammer, as blustering producer Charles Frohman, may seem like a bit of a television name to sell tickets, but his twinkling charm and confident sense of savoir-faire prove to be entirely welcome. Laura Michelle Kelly sings sweetly and conveys a delicate allure as dear Sylvia. Carolee Carmello is all class as Sylvia’s society mother Mrs du Maurier, who may or may not be the inspiration for the crocodile in Peter Pan.

All sorts of skills, energy and confidence are required of the four boys playing Sylvia’s sons in each performance. At this session, Aidan Gemme (Peter), Christopher Paul Richards (Jack), Sawyer Nunes (George) and Alex Dreier (Michael) worked together with real chemistry. Gemme showed particular maturity, creating clear bonds with the adults in Peter’s life.

Despite evidence that may seem to indicate the contrary, Finding Neverland is actually not all that suitable for younger children. For all other theatregoers, however, it is highly recommended. Check you disbelief at the door. And take a tissue.

Finding Neverland was reviewed 8pm Saturday 4 April 2015 at Lunt-Fontanne Theatre, New York.

Photos: Carol Rosegg

Despite finding plenty to praise in Fun Home, I am afraid I am going to have to call Emperor’s New Clothes on this one. The uptown move of 2013 Off-Broadway darling Fun Home has generated plenty of buzz on Broadway, but it is challenging to see what the fuss is about.

For the first song it is not evident what the story is going to be about. There is clearly a framing device of a young woman looking back on her life, and she is clearly confident in her sexuality and identity as a lesbian. At the end of the first song, a hunky young handyman enters and there is a bolt of electric attraction from the father and the point becomes clear.

While Alison lives in a time when she can go to college and explore and embrace her sexuality, her father Bruce has been constricted and stunted in his growth, leading to a dysfunctional dual personality of antique-loving father and predator of young men. The tragic outcome of this fraught lifestyle is telegraphed early, and the story progresses in a steady fashion to this conclusion.

Based on the graphic novel of Alison Bechdel, Fun Home has a strong focus on visual images. Adult Alison is a cartoonist, and her reminiscences are based on her quest for people and objects from her past to sketch. In her journey back through her childhood, Alison learns more about herself and her father, seeing events in a clearer light the more she reflects on them.

The non-linear structure is tightly woven; various scenes, even from different time periods, occur simultaneously on stage. Director Sam Gold elicits natural performances from the cast of nine players, helping the child actors match the performance levels of the highly experienced adults.

Jeanine Tesori’s music is gently appealing, if not particularly melodic or memorable. “Come to the Fun Home,” in which the three children play at making an advertsement for their funeral home, is one of the more upbeat numbers, with a deliberately funky Jackson Five feeling. Lisa Kron contributes both book and lyrics, ensuring smooth transition between the spoken and sung word. In fact, many songs are quite conversational in tone.

Michael Cerveris and Judy Kuhn are two of the most abundantly talented singer/actors on Broadway, and both add significant authority and quality to the production. Cerveris succeeds at projecting a full spectrum of emotions despite the introverted nature of Bruce. Kuhn has a lovely ability to switch to delicate head voice for high notes, conveying a wavering fragility.

Beth Malone gives an unfussy performance as Alison, never drawing attention to herself but rather to Alison’s observances. Sydney Lucas is plucky and adorable as Small Alison, and Emily Skeggs is sincere and open as Middle Alison.

Oscar Williams and Zell Steele Morrow are energetic and well matched as Alison’s siblings Christian and John. If Joel Perez played four characters, as listed in the Playbill, I could not see when each began and ended.

While I found this more of a production to admire than enjoy, keen aficionados of edgy music theatre will most likely appreciate Fun Home.

Fun Home plays at Circle in the Square, New York.

Photos: Joan Marcus (2013 production0

From a source rich for musicalisation, epic historical romance Doctor Zhivago arrives on Broadway in the same sweeping, dramatically charged production that was seen in Australia.

***check back later for images***

The 2011 Australian tour was obviously considered a great artistic success given the minimal tweaks to the staging. The changes really boil down to two points: Lara is now a blonde while Tonia is a brunette, and beloved tune “Lara’s Theme” has been added to the score.

The inclusion of “Lara’s Theme” is a sentimental nod to the popularity of this tune (and a chance to use it in advertising). Thankfully, it has been used in a subtle way so as not to overshadow Lucy Simon’s gorgeous score. “Somewhere My Love” is sung by nurses on the front as a kind of cheerful folk song.

Simon’s own love themes are still all prevalent, the best of which are “Now” and “On The Edge of Time.” Beginning as a letter from a dead soldier to his beloved girlfriend and growing into Lara and Zhivago’s realisation of their own love, “Now” must be one of the most romantic songs ever written for a musical. Fingers crossed that the Broadway season means that the score will finally receive a cast recording.

Michael Weller’s book remains economically concise, with lyricists Michael Korie and Amy Powers covering much of the storytelling. To keep the air of excitement alive, director Des McAnuff sets the action faster and the gunshots and explosions louder. The opening sequence is particularly brisk, and some familiarity with the story would definitely help the audience at this point. One of the most admirable features of the book and direction is the use of crosscutting scenes that transcend what can be shown on film to create a dramatic juxtaposition of events occurring simultaneously.

Another aspect that would help audience understanding would be more distinctive costumes. Paul Tazewell, who is new to the team since Australia, must have had a brief to keep fabrics and colours drab. Surely there must have been a clever way to work around this and create a recognisable look for the key characters.

Michael Scott-Mitchell’s scenic design has been enhanced with digital effects on inbuilt screens. The ingenious concept of the setting sees large solid constructs represent any number of locations, thus swiftly facilitating flow of overlapping scenes.

It was disappointing not to see leading man Tam Mutu (so strong in London’s City of Angels recently) due to illness, but at least this performance was not cancelled. Bradley Dean was a solid replacement, a little lacking in charisma but with a strong singing voice.

Kelli Barrett is an angelic Lara, singing sweetly and playing the burgeoning romance convincingly. Lara is also a magnet for sleazy official Viktor Komarovsky and for her husband, Pasha. Tom Hewitt misses a little of the malevolence of Komarovsky, going for a safer (read: blander) characterisation.

Paul Nolan is blisteringly hot as Pasha, displaying a thrilling belt and taking the character on a believable journey from wide-eyed student to ruthless revolutionary. He also manages some very impressive Russian folk dancing. Nolan’s performance is truly exciting, and he is sure to break out as a star from this role.

Doctor Zhivago does not quite reach the Les Misérables standard for romantic musical drama but it certainly comes very close. Fans for this genre looking for fresh material will not be able to resist Doctor Zhivago.

Doctor Zhivago was reviewed 7.30pm Sunday 5 April 2015 at Broadway Theatre, New York.

To see photos of the Australian production, click HERE.

Frothy as the finest champagne and glittering like the most precious emerald, Gigi makes a welcome return to the Broadway stage.

Leading lady Vanessa Hudgens proves more than up to the task of carrying the sumptuous show, as she throws herself unreservedly into giving a polished performance of the endearing title character. The sum of Hudgens’ combined singing, acting and dancing talents are enhanced by a charming stage presence that draws and holds the eye whenever she is on stage. She clearly traces Gigi’s development at a key time, from awkward, trusting girl to assured young woman.

To her great advantage, Hudgens is surrounded by a terrific leading man and three character actors drawn from the upper echelons of Broadway royalty. Corey Cott is sensational as “sugar prince” Gaston Lachaille, a coveted young bachelor. Cott’s singing of title song “Gigi,” as Gaston who finally sees his young friend Gigi as a mature young woman he loves, is truly electric.

Victoria Clark creates yet another character of great warmth and heart as Gigi’s Mamita (grandmother). Sparks fly between Clark and fellow Broadway stalwart Howard McGillen (as Honoré) as they sing classic duets “I Remember It Well” and “I’m Glad I’m Not Young Anymore.” Willowy Dee Hoty completes the highly experienced trio as Gigi’s Aunt Alicia, relishing her role as the jewel-encrusted society matron and definitive snob. The song “Thank Heavens For Little Girls” has been re-assigned to Mamita and Alicia to avoid any potentially insidious implications of the song being sung by an elderly man.

As Eliza Doolittle studied voice, Gigi studies deportment, grooming and jewelry. Heidi Thomas’ adaptation of Alan Jay Lerner’s book almost reaches breaking point in the portrayal of the deeply superficial lifestyles and the avaricious pursuit of wealth and material possessions, until the scenario is ultimately resolved through dear Gigi’s and Gaston’s pure and transcendent love. The running joke about suicide, however, could surely be cut in the name of good taste.

Hearing Lerner and Frederick Loewe’s ravishing score is a pure pleasure. Joshua Bergasse’s choreography does not reach the classical heights of On The Town, but it is sharp and stylised. Act one finale ‘The Night They Invented Champagne” is a true highpoint of energy and excitement. Director Eric Schaeffer has achieved a uniform playing style from the cast, channeling their energy and focus to stretch out the slender conceit of the operetta-like plot over the length of the show.

Derek McLane’s belle époque set design is based upon a double staircase, housed under the wrought iron curves that suggest the Eiffel Tower, which had just been built when the story is set. Various set pieces are added to create new locations, with the most sumptuous being the glowing red booths and lights of Maxim’s. Natasha Katz’s lighting brings out all kinds of details in the setting, and help to create the various locations.

Of chief attraction among the accomplishments of the creative team are the costumes of designer extraordinaire Catherine Zuber. A master of colour, Zuber uses a delectable palette of pinks, purples and reds to paint the elegant trappings of a bygone age. Feathers and floral attachments are skillfully used to add visual appeal. Gigi’s development is charted expertly through her costumes, and any show that gives the leading lady a new dress for the curtain call is a lavish one indeed.

Sure to be enjoyed by mothers and daughters, and music theatre fans seeking a return to the golden age, Gigi is designed to send the audience smiling out into the night.

Gigi was reviewed 8pm Monday 6 April 2015 plays at Neil Simon Theatre, New York.

Photos: Margot Schulman

A triumph of great casting over moderate material, It Shoulda Been You is a breezy, old-fashioned comedy that is as pleasant as it is forgettable.

Brian Hargrove’s sitcom/movie-of-the-week script benefits immensely from the devilishly dry delivery of Tyne Daly and Harriet Harris. As dueling mothers of the bride and groom, Daly’s Judy Steinberg slings the unwanted truth, while Harris’ Georgette Howard counters with withering putdowns. Each has delectable comic timing and both know how to sell a song. Daly has a while number about Judy trying to be “Nice.” In trying to keep her son a mama’s boy, Harris’ Georgette wonders “Where Did I Go Wrong.”

The women receive solid support from the fine actors playing the lesser roles of their spouses; Chip Zien is the cheery Murray Steinberg, and Michael X. Martin is stiff WASP George Howard.

The plummy tones of Edward Hibbert help him land every one of his laughs as indispensable wedding planner Albert.

While the story is ostensibly focused on the wedding of Rebecca Steinberg and Brian Howard, the main thrust of the emotional arc centres on Rebecca’s sister Lisa, a curvaceous young woman who self-esteem has been beaten down to the point where she believes she is not beautiful and cannot find love. Given the entertainment industry’s obsession with size 0 actresses, Lisa Howard gamely appears on stage in her slip as she sings “Beautiful,” and is rewarded with the final bow for her gutsy performance.

Sierra Boggess’ high soprano is all but wasted as bride Rebecca. David Burtka is an attractive stage presence as groom Brian. The awesome talents of Memphis leading lady Montego Glover are completely squandered as sweet bridesmaid Annie, and Nick Spangler has an equally underwhelming role as best man Greg.

While the presence of past boyfriend Marty (Josh Grisetti) leads to the title song “It Shoulda Been You,” and seems to indicate a predictable turn of events, there is actually a fairly large twist in the story, with another surprise that follows. Given the completely underwritten nature of the younger generation of characters, the drive of the final act of the show is all about the parents’ reactions to the revelations.

In the spirit of Calamity Jane, there is a triple wedding happy ending that leaves the audiences with a momentary buzz of good will. They are certainly not left with any of tunes to hum from Barbara Anselmi’s score.

Anna Louizos has designed an attractive, functional two–story setting in an upmarket hotel. Costume designer William Ivey Long has demonstrated his flair for vivid colour, but provides no surprise fast changes this time.

It Shoulda Been You was reviewed 8pm Tuesday 8 April 2015 at Brooks Atkinson Theater, New York.

The jewel in the crown of the current Broadway season, Rodgers and Hammerstein treasure The King and I gleams in a ravishing revival. The vision of esteemed director Bartlett Sher and team, in combination with the luminous talents of the cast, represents the current pinnacle of theatrical achievement. The Phantom’s chandelier and Miss Saigon’s helicopter, long held as the peak of heightened stage effects, have finally been usurped. Anna Leonowens and her son Louis enter on a boat so incredible that it would be difficult for readers of this review to believe, even if words could actually be found to describe the effect. No photos of this sequence have been released, leaving only one way to experience this wonder: buy a ticket and see it in person. Assembling the same stellar team of collaborators as for his acclaimed South Pacific revival, Sher shows an even greater level of confidence and inspiration for The King and I, a musical that is already considered one of the greatest ever written. Directing an almost arena-sized production, Sher is able to include every detail and nuance that the script possibly calls for, creating an immensely satisfying, fully realised staging. If there is one inbuilt flaw, however, it is the need for constant movement so as to perform towards audience members around the 180⁰ curve of the auditorium. Five-time Tony nominee Kelli O’Hara is dream casting as Anna, a role she was born to play. O’Hara expertly conveys the competing forces of ladylike grace and feisty feminism that fan the flames of Anna’s inner turmoil as she struggles to both respect and alter the King’s ways. And of course O’Hara’s golden soprano sounds divine as she sings all of Anna’s hit tunes.   Movie actor Ken Watanabe makes his US stage debut in an electric portrayal of the King. Whilst it is usually just assumed that the characters speak in English for the audience’s sake, it is clear here that that the King is practically daring anyone not to use English. Watanabe maintains a high level of deliberate nervous energy to convey the high wire of tension the King straddles as he balances his affairs of state and home. Watanabe’s natural singing style suits the conversational tone of the King’s songs. Watanabe and O’Hara enjoy terrific chemistry. At the moment when the King and Anna come together to dance arm in arm in “Shall We Dance,” a proverbial pin drop could have been heard in the auditorium. Often a problematic moment at the end of a long night, Watanabe, with help from Sher, makes the King’s crippling loss of face very clear, also developing a damaged voice and physical condition for the final deathbed scene. Ruthie Ann Miles skillfully conveys the proud carriage of head wife, Lady Thiang. Her rendition of “Something Wonderful,” while entirely lovely, is somewhat marred by the need to move about to include audience on all sides. This song is much more powerfully performed standing completely still. Ashley Park and Conrad Ricamora are fresh, appealing and talented as young forbidden lovers Tuptim and Lun Tha. Park is well served by “The Small House of Uncle Thomas” ballet, which gives her plenty of scope for drama, especially with Eliza dressed and coiffured to look exactly like Tuptim. The fate of these lovers seems especially moving in this production. Designer Michael Yeargan has filled the vast Beaumont performance space with illustrated panels, decorative beams, a massive rear fortress wall and lovely hanging blossoms. With the main playing space thrust forward of the wings, the epic scale feels intimate in this theatre. The only drawback to this, however, is that set and prop pieces must constantly be carried on an off stage. The design palette of burgundy, purple and gold is all the richer for Donald Holder’s luscious lighting. Given a massive cast of well over 40 to dress, costume designer extraordinaire Catherine Zuber has created a sumptuous picture of palace life, with wives, children and priests outfitted in exotic jewel tones of red, orange, purple and sapphire. Zuber tells a story with Anna’s dresses, taking her from the contrasting shade of forest green, through cooler blues to lavender and finally to rich dark burgundy, showing that Anna has finally accepted the ways of the Siamese people. Choreographer Christopher Gattelli adds some spirited movement to cover scene changes, as well as filling the large stage with the iconic polka of “Shall We Dance?.” Gattelli’s “The Small House of Uncle Thomas” ballet, based upon the work of Jerome Robbins, is as intricate and pristine as it is dramatically effective. Ted Sperling presides over a lavish-sized orchestra of 29 players giving an exquisite performance of the beloved score. This is must-see theatre, provided you can secure a ticket. The King and I was reviewed 8pm Wednesday 8 April 2015 at Vivian Beaumont Theater, New York Photos: Paul Kolnik

Soaring sets and grand pageantry distinguish the Met’s Aida, a production that holds up strongly in repeat viewings.

The evening began with the warmest possible welcome for conductor Plácido Domingo, the original Radamès when this production premiered in 1988. Domingo’s intricate knowledge of the music allows him to project a cheerful, relaxed vibe. His musically assured touch with the baton, draws fine, delicate playing, particularly from the strings.

Marco Berti is a solid, masculine Radamès, presenting an implacable front to the brave and ambitious warrior. In “Celeste Aida,” Berti reveals a power that supports his high notes with ease, although this strength comes at a slight cost of beauty to the voice. He tirelessly maintains this vocal strength all night, but also remains rather stiff in terms of acting the role.

Oksana Dyka has a regal presence as the disguised Ethiopian princess Aida. She sings “Ritorna Vincitor” as a tremulously gentle prayer, her delicate volume conveying the barely contained fear of a woman who dreads the thought that her lover may not return from war. “O Patria Mia” is equally lovely, perhaps even sweeter When singing opposite Berti and Mark Delavan (Amonasro) in act three, however, Dyka’s volume is not sufficient and the character loses impact. Overall, Dyka’s exquisite vocal expression partly counters her lack of facial and physical expression, but her performance develops little engagement with the audience. Dyka and Berti display precious little chemistry as the ill-fated lovers.

Act Two is the big showcase in any presentation of Aida, and this staging is certainly no exception. Gianni Quaranta’s set are at their most epic, with the procession in scene two lit beautifully by Gil Wechsler to give a sense of outdoor sunshine. The transition from Amneris’ apartment to the public square features a dazzling trick as the apartment sinks into the floor, bringing a phalanx of spear carriers down to stage level. A massive cast, plus a handful of beautifully groomed horses, processes in triumphant celebration of Egypt’s defeat of the Ethiopians.

Alexei Ratmansky provides two impressive sets of choreography in act two. Dancers Christine Hamilton and Bradley Shelver perform a frisky pas de deux to entertain Amneris in her chambers (she is even moved to a pleasant smile). After the Triumphal March, Ratmansky presents a set of female and male dancers moving lightly and briskly in ever changing formations. This highly entertaining sequence is almost like watching the whole act of a ballet in fast-forward.

Violeta Urmana sports a crafty smile as the pampered princess Amneris. Urmana has excellent projection of her mezzo-soprano, and it rings out clearly, even when singing with the entire company. As the opera progresses, Urmana goes on to give the most compelling performance of the lead cast. Her impassioned work in the final act, as Amneris awaits the judgment in Radamès’ trial, is particularly moving.

Štefan Kocán displays his smooth, powerful bass as Ramfis. Mark Devalan adds significantly to the drama as Amonasro, imprisoned father of Aida.

Chorus master Donald Palumbo has clearly made thorough preparation for the performance. The male choristers impress with their pianissimo work in act one. The loveliest of voices are heard in the female chorus at the beginning of act two, as the women keep Amneris company.

Despite the excellent singing, the lack of dynamic performances creates an underwhelming experience of the drama. This season of Aida is mainly worth attending for the music and the spectacle.

Aida was reviewed at Metropolitan Opera House, New York on opening night, 8pm Thursday 9 April 2015. It plays selected dates until 20 April 2015.

Photos: Simon Parris

Having already appeared in enough musicals to fill her debut album with career highlights, Patrice Tipoki shares the enormous breadth of her talent in the new release A Musical Heart.

From Disney to Sondheim, Rodgers and Hammerstein to Boublil and Schönberg, and Queen to The Righteous Brothers, Tipoki’s incredible range of styles makes the collection sound like more of a compilation album than a solo recording. Belters cannot usually sing as sweetly, and sopranos do not usually have such a strong and expressive middle range. Tipoki’s every note is supremely assured, and her interpretation and expression demonstrate her innate musicality and significant acting skill.

At first glance, Tipoki’s playlist may look like a collection of safe favourites, but once the album is played, the variety quickly becomes evident. While megahit Les Misérables has thrust Tipoki into the public eye, the diversity of abilities she has displayed here suggests that she need never be out of work again. Some actresses have to wait for another of their signature type of roles to come along, but Tipoki jumps from majestically belting “Defying Gravity” to soaring sweetly in “Tonight” to rocking her way through “Somebody to Love” with apparent ease and highly polished flair.

There is a freedom to interpreting these songs away from their original settings. Working with her dear sister Laura Tipoki as Musical Director, Tipoki has mined the tracks for all the heartfelt meaning that can expressed, along with smatterings of playful and personal touches. “Shall We Dance” is reimagined as a waltz, with the piano accordion adding a wistfully romantic air. The accordion is heard again, adding an extra note of longing in the charmingly direct arrangement of “Anyone Can Whistle.”

Two of Tipoki’s signature hits are songs that music theatre fans have heard countless times over, yet they are given freshly compelling performances here. The full range of Elphaba’s emotional journey is heard in “Defying Gravity,” with Tipoki adding some extra vocal fireworks in the final thrilling bars. Likewise, Tipoki finds layers of feeling in Fantine’s poignant ballad “I Dreamed a Dream,” giving a more intimate edge to the quiet moments than can be done on stage.

Tipoki’s vocals are accompanied by thirteen contributing musicians on a range of instruments, giving the recording a touch of polish over similar vocal albums that only feature piano.

Of Laura and Patrice’s new arrangements, “Beauty and The Beast” is a particular delight, with evocative solo acoustic guitar enhancing the string quartet accompaniment. Haunting standard “Unchained Melody” features a gorgeous piano and strings accompaniment, with the added pleasure of the warm, expressive vocals of Tipoki’s Les Misérables co-star Simon Gleeson.

The standout track of the album is a sensational arrangement of “Can You Feel The Love Tonight.” International singer Alex Boyé has collaborated with Laura and Patrice to create an “Africanized” version of the well-known romantic duet. Powerful percussive rhythms and the passionate vocals of Tipoki and Boyé sweep away the saccharine sweetness of the number, bringing it more in line with Lebo M’s contributions to the score of The Lion King.

A Musical Heart is released 1 May 2015.

A Musical Heart can be purchased from iTunes.

Photos: #2, 5: Kurt Sneddon, #3: Sebastien Arnold, #4: Simon Parris

The myriad of decisions, events and talents that miraculously combined to create beloved film The Sound of Music is lovingly and insightfully described in Tom Santopietro’s fascinating new book The Sound of Music Story.

The overall tone may be one of fondness and reverence, but Santopietro pulls no punches in describing the difficulties and dilemmas that afflicted the production. Featuring a plethora of first hand anecdotes and recollections, Santopietro’s text takes the reader on an addictive narrative from the real life von Trapps, through the stage musical’s success to the movie’s eventual triumph over budget and time blowouts. Even events where the outcome is known, such as the film’s achievements at the 1966 Academy Awards, are told in a suspenseful way that has the reader turning each page to see what happened next.

Fans who feel fairly familiar with tidbits such as Julie Andrews’ hilltop twirl being the final shot filmed on location in Austria, will no doubt still find a multitude of new and intriguing details here. There are extensive lists of alternate actors who may have played the lead roles (Angie Dickinson as Maria? Yul Brynner as Captain von Trapp?), insight on the political challenges of filming Nazi scenes in Austria, a description of the patchwork composition of “I Have Confidence,” and even details about cast members who gained the most weight while filming in Salzburg.

We find out why “Something Good” was largely filmed in silhouette, how Andrews travelled up the mountain to film the famous opening and why the boat overturning in the lake was so challenging to film. We hear about the time the real Maria and family saw Hitler in a Munich café, and also relive the first meeting on set of Julie Andrews and Marni Nixon (Sister Sophia) (Nixon had dubbed the voice of Audrey Hepburn in My Fair Lady, a role that Andrews, based on her stage success as Eliza Doolittle, should have played.)

While Christopher Plummer is described as somewhat resentful of the role and process at the time of filming, Andrews is presented as having exceptional patience, professionalism and good will. A quote from Nicholas Hammond (Friedrich) sums up this effect on the children’s performances: “Every one of the children had to adore Maria and feel on his or her toes around the captain and that’s exactly the way Julie and Christopher behaved with us, all the time.”

Santopietro includes charming details of the creative process, such as choreographers Dee Dee Wood and Marc Breaux donning nun’s habits to ensure the choreography for “Maria” would work, and how lighting designer Ted McCord lit the wedding procession to offset the effect of the stained glass windows. Contributions of the creative team are so richly described, that the lack of an Oscar nomination for screenwriter Ernest Lehmann is keenly felt.

In recounting the background of the real Maria Augusta Kutschera von Trapp, Santopietro moves from the challenging beginnings of Maria and her new family through their singing success to their eventual embrace of the film and its world-conquering success. Maria received 0.375% of the royalties of the stage musical and the movie, a deal that was reaping $100,000 at the 50-year mark of the show’s success. While not welcomed as an advisor on the film, Maria made a brief cameo, the tedium of which lead to her proclamation that it was her first and last day on a film set.

As well as including details such as the children’s real names, the real people that Elsa and Max were based on are covered. Wily promoter Max was based on a priest, and Aunt Yvonne (Elsa) was capable of even snider comments than her fictionalized counterpart!

Of particular interest in the writing of Santopietro (above) writing is his analysis of key cultural moments in the movie’s reception. He presents and analyses particular reasons why film critics were so harsh at the time of the movie’s release. He probes into why the movie was not a success in Germany and Austria. Of particular interest is his assessment of why follow-up projects for the cast and also copycat projects from Hollywood were not as successful as the juggernaut success of The Sound of Music. There are also interesting reactions presented to the current phenomenon of Sing-A-Long-A Sound of Music, as well as to the 2013 television presentation The Sound of Music Live!.

The Sound of Music Story is recommended for the book shelf of music theatre lovers and film buffs alike.

The Sound of Music Story was released in Australia on 1 May 2015.

Photos: #2, #3: Twentieth Century Fox Film Corporation/Photofest; #4: Joan Marcus

Moffat Oxenbould’s cherished production of Madama Butterfly goes out in high style with sublime soprano Hiromi Omura giving an exquisitely calibrated tour de force performance.

Emanating a vibe that is the antithesis of the stereotypical opera diva, Omura simultaneously commands attention whilst also maintaining a demure and serene grace. Omura’s silken soprano pours forth in shimmering waves, conveying the spectrum of Butterfly’s modesty, anticipation, joy, fear and heartbreak. Such is Omura’s tireless stamina, at evening’s end she seems like she would be able to start at the beginning and sing it all over again.

Enhancing Omura’s rich vocal colour is her highly expressive countenance. The suspension of disbelief required to see Omura as a teenager is simple given the way she beams first with innocent radiance and then with the ecstasy of first love. Omura is particularly convincing in portraying Butterfly’s resolute mania as the deluded young woman steadfastly awaits the return of her American “husband.” Finally, the beaming face crumbles to ashen despair as the realization sinks in that Pinkerton is not returning to her.

This production has fit the company like a glove, which is due, in small part, to its collective three-year creation process. One of the few stagings to successfully expand to capaciously fill the State Theatre stage, the production has been a failsafe introduction to opera for newcomers as well as an ongoing regular audience favourite.

As pristine as when first seen 18 years ago, the invention and stunning beauty of Peter England and Russell Cohen’s designs remains rarely matched on the world opera stage. Floating candles, cascading petals and twinkling stars grace the elegant wood paneled floor, textured dark green walls and broad moat, the picture completed with the rainbow of billowing jewel-toned costumes.

Maestro Guillaume Tourniaire supports Omura’s superb vocals with a splendid performance from Orchestra Victoria. Such is the effortless ebb and flow of dynamics and rhythm, Puccini’s time-honoured score seems to take on the qualities of a soundscape, with waves of percussive bells and magical harp giving way to emphatic brass fanfares and melodic strings.

The significant experience of the lead and featured cast in their roles adds weight to the drama. The cast projects a strong sense of trust and shared instincts in their ensemble performances.

Tenor James Egglestone projects a sexual energy as the lustful Pinkerton, and gives the character’s selfish disregard for young Butterfly a subtle edge of regretful concern. His mid-range voice in fine form, Egglestone appeared to have some tightness and discomfort with high notes on opening night.

Sian Pendry has developed beautifully in the role of Butterfly’s devoted companion Suzuki, finding layers of gentle compassion, shared joy and crushing despair in the character’s journey. Pendry’s rich, full mezzo-soprano voice is a lovely complement to Omura’s silvery soprano, and duet work from the pair is a dream.

With sprightly movement and mockingly deferential body language, Graeme Macfarlane deftly realises many a comic touch in the role of self-serving marriage broker Goro, also singing the role with understated flair. As US Consul Sharpless, Michael Honeyman lives up to his surname, his rich, warm baritone having a charmingly seductive tone.

Sterling bass Jud Arthur gives an energetically commanding cameo as Butterfly’s outraged uncle, The Bonze. Baritone Samuel Dundas effectively captures the calm majesty of Butterfly’s spurned suitor, Prince Yamadori.

Hiromi Omura’s world class performance is simply not to be missed, and this production of Madama Butterfly is to be revered one last time.

Madama Butterfly plays selected dates at State Theatre, Arts Centre Melbourne until 30 May 2015.

Photos: Jeff Busby

In a staging that is as magnificent as it is ingenious, director David McVicar breathes fresh life into trusty favourite Don Giovanni.

Robert Jones’ epic stage design, seen first in the smaller Joan Sutherland Theatre last year, looks just as grandly impressive in the State Theatre. Chalky black and grey marble columns and walls soar to great heights overhead, with an ongoing array of sliding and flying set pieces creating a seamless flow between scenes. A patch of blue sky behind a graveyard is the only flash of colour for the evening in this richly textured, grayscale design. The centrepiece of the staging is a seemingly endless staircase, which slowly, and very satisfyingly, lowers into place.

Given that the opera’s finale see the Don make his descent into the depths of hell, the staircase brings a suggestion that the characters are already in the underworld, which is a hazy hell of their own making. Reflecting the class distinctions of the time, there is also a suggestion of “below stairs” drama, where “upstairs” is only glimpsed through broken rickety slats. In addition to the rear graveyard setting, Jones’ has strewn the sides of the stage with ominous piles of skeletons and skulls, keeping the spectre of death ever present.

In a brilliant twist on the traditional living statue of the slain Commendatore, Don Giovanni and his manservant come across The Commendatore’s sculpted tomb, where the Don makes the foolhardy error of pushing the tomb lid ajar when recklessly inviting the dead man to dinner. The silhouette that marks the arrival of the ghoulish dinner guest is just one of the striking effects of David Finn’s expert lighting design.

When the walking dead Commendatore opens the bowels of hell, a ghastly gaggle of ghouls pours forth, with the female demons in particular appearing to represent the Don’s past catalogue of sins.

Maestro Anthony Legge presides over an exacting rendition of Mozart’s glorious score from Orchestra Victoria. What the Mozartian-sized orchestra lacks in oomph it more than makes up for in exquisite detail, with the sharing of musical motifs across and around the pit heard with distinct and very pleasing clarity. Special mention, also, to the exacting work of Siro Battaglin on Fortepiano.

It is pleasing indeed to see such a talented cast comprised entirely of local singers. Taking over duties from McVicar, who directed the Sydney premier last year, revival director Matthew Barclay respects the text, eliciting controlled, respectful performances from the cast. The use of space and height and the creation of new locations within what is basically a single set are both nothing short of superb.

It could be said that Teddy Tahu Rhodes owns the role of Don Giovanni in Australia, with the reasons behind this in full evidence this season. Rhodes nails the Don’s swagger and self-grandeur, and delivers his oily lies, excuses, seductions and manipulations with earthy charisma. Rhodes’ deliciously burnished baritone is in mellifluous form, and, if his diction leaves just a little to be desired, his deep, rich tone is such a pleasure to hear, and so perfect for the character, that it really does not matter.

Shane Lowrencev gives his best comic performance to date, finding delightful layers of humour in the text and situations without even a hint of mugging for laughs. In an opera full of rape, murder and adultery, Lowrencev’s Leporello is a welcome relief. Lowrencev’s nimble bass is heard to great effect in the catalogue aria “Madamina, il catalogo è questo.”

Of the three female objects of Don Giovanni’s desire, Taryn Fiebig acquits herself most impressively, with her gently floating soprano sounding particularly angelic. Zerlina and Don Giovanni’s duet “Là ci darem la mano” is a true highlight of act one, and Fiebig’s rendition of act two aria “Vedrai carino” is utterly charming.

Australia’s first lady of opera, Emma Matthews, demonstrates her celebrated acting skills playing sympathetic heroine Donna Anna. Matthews’ voice seemed not at its full strength on opening night; her trademark vocal trills, however, were as wonderful as ever, particularly in act two aria “Non mi dir.”

Jane Ede is in fine voice as Donna Elvira, delivering a lovely performance of act two aria “Mi tradì quell’alma ingrata,” but does not quite manage to put a distinct stamp on the characterisation of the obsessed lover.

John Longmuir impressed mightily as Don Ottavio last year, and while the luxurious tone of his tenor voice was still heard in abundance at the Melbourne opening, his breath support seemed shallow, leading to a somewhat shaky sound.

Jud Arthur delivers a spine tingling performance as the Commendatore, his commanding bass causing hairs of the neck to stand on end.

Melbourne audiences who think they have already seen all Rhodes has to offer as the Don (based on the popular previous production) are strongly encouraged to experience this tremendous staging, the first of a trilogy of Mozart productions from McVicar. The Marriage of Figaro’s Melbourne November premiere is highly anticipated.

Don Giovanni plays selected dates at State Theatre, Arts Centre Melbourne until 30 May 2015

Photos: Jeff Busby

The wind must be in the east, as Mary Poppins flies back onto the Melbourne stage in a lavish, lovingly crafted stage spectacular.

Commercial music theatre continues to break new ground in technology and stage magic. Rather than finding this relentless progress daunting, CLOC Musical Theatre again shows that they take challenge and inspiration from this continual advancement of theatre arts. Anything can happen if you let it, and CLOC certainly lets it happen.

Recreating such a recent high profile hit, CLOC bases most of their design decisions on the original staging, with extra flair coming from costumes. There are significant achievements in magic tricks, animated projections and flying, along with gorgeous backdrops and an incredibly large central set for the Banks house.

More than just another entry in the movie-to-musical adaption craze, Mary Poppins was the result of collaboration between two of the world’s greatest theatrical powerhouses, Disney and Cameron Mackintosh. Julian Fellowes (Downton Abbey) expanded and somewhat darkened the film’s content by incorporating further material from P.L. Travers’ Mary Poppins books. The masterstroke was the extension of the Sherman Brothers’ beloved score with additional music and songs from George Stiles and Anthony Drewe. Infinitely hummable, the toe-tapping score is an absolute gem.

Co-directors Chris White and Lynette White have assembled a large, highly experienced cast to bring the colourful collection of characters to life. Diction and projection are extremely clear, although this comes at a slight cost of the pacing being a little slow. Carolyn Waddell’s appearance as holy terror Miss Andrew at the top of act two seems to bring an infusion of energy, and the second half moves on apace. Still the overall length nudges three hours, which may test the attention span of even the most enraptured children (a matinee would be best for younger theatregoers).

Lynette White fills the stage with dance in company numbers, delivering a charming spot of soft shoe in “Jolly Holiday” and spirited tap dancing in the showstopper “Step in Time.”

Under the music direction of Danny Forward, vocals are uniformly strong, with particular precision in harmonies. Marcello Lo Ricco’s expert sound design presents the singing with clarity at a pleasing level of volume, and allows every instrumental part from the pit to be heard with distinct precision.

Chris White again proves that his artistry with the paintbrush will never be superseded by computer illustrations. In terms of animated projections, however, lighting designer Brad Alcock’s team create some wonderful effects, including a cheeky flight from Miss Andrews’ lark and hazy smoke rising from the distant chimneys of London rooftops.

Staggering in number and striking in detail, the costumes of Victoria Horne are an absolute highlight of the design. Deliciously witty and exquisitely lavish, Horne’s costumes fill the stage with so much colour and creativity that is almost impossible to absorb all of the features. The transformations from Victorian greys to mardi gras pinks for “Jolly Holiday” are fabulous, with further full company outfits on show for “Supercalifragilisticexpialidocious,” “Playing The Game,” “Step in Time” and “Anything Can Happen.” The diamanté-encrusted, midnight blue velvet outfits for “Anything Can Happen” are nothing short of incredible. The fact that Horne has not been snaffled away by a commercial theatre company is one of life’s great mysteries; meanwhile, her ongoing presence is an immense asset to CLOC.

With a crystalline soprano and charismatic stage presence, Rosa McCarty is a memorable Mary, expertly judging when to take centre stage and when to stand back and oversee the magic. The polished talents of Robbie Smith bring the woefully underwritten role of Bert to life, and Smith and McCarty enjoy a nice spark of chemistry.

With the strongest character arc of the show, George Banks’ journey from coldly distant father to newly re-joined member of the human race is an affecting one. As events of the second act unfold, Lee Threadgold comes to the fore as Mr Banks, completing the journey without a hint of mawkishness. Kristen Beayni displays a lovely soprano as Winifred Banks.

Looking almost more alike as siblings than actual siblings, Mackensie Young and Joshua Vass were utterly charming as Jane and Michael Banks on opening night. The pair pulls off the near impossible feat of being expertly accomplished without being gratingly saccharine.

A trio of highly experienced (I dare not say veteran) actresses adds polish and class to proceedings. Jennie Kellaway scores many a laugh as beleaguered Mrs Brill, Carolyn Waddell delights with the heightened wickedness of Miss Andrew, and Beryle Frees is touchingly winsome as the dear old Bird Woman.

At less than half the price of tickets to a professional production, Mary Poppins arguably represents the best value theatre experience in Melbourne. Book your tickets now, spit spot!

Mary Poppins plays at National Theatre, St Kilda until 30 May 2015.

Photos: Carlos Ramirez and Zac Groenveld

Dramatically charged content, stirring, melodious music and terrific performances contribute to a distinguished world premiere for Ned A New Australian Musical.

When a world premiere musical is staged in a brand new theatre there are multiple aspects to cover: the performances and the production, the work itself, and the stage, auditorium and foyer of the theatre.

Inspired architectural choices have seen the features of historic Sandhurst Gaol capitalised and showcased to terrific effect in the new Ulumbarra Theatre. The marvelously capacious foyer flows along an original prison corridor past cells (that the brave can enter) to a range of atmospheric pre-show dining and drinking spaces. The large 953-seat auditorium, with stalls and dress circle, has comfortable seats, good legroom and great sight lines. The space is an incredible asset for regional Victoria.

The prospect of a musical based on the life of infamous bushranger Ned Kelly may sound like a larger than life Simpsons musical episode, yet a quick glance through the synopsis reveals the intensely operatic scope of the material. Focusing on the ordinary young man behind the legend that has long captivated Australia, Ned presents a sympathetic view of life events that shaped young Edward Kelly’s destiny, yet does not shy away from the brutality and impact of senseless violence.

Composer Adam Lyons has created an accessible, engaging score, the high quality of which is cause for celebration. Writing in the modern musical style in which songs drive story, Lyons has tapped into the sound of the characters and the era to write songs that that sound like ones that the characters would actually be singing.

Lyons’ deft skill is evident in numbers such as “Here’s To The Kellys,” which is ostensibly a joyous family ditty but also serves to fill in backstory that Ned has missed while in jail for three years. “Sing! Dance! Drink! Love!” is a joyous celebration at the inn, yet also sows the seeds for Constable Fitzpatrick’s smutty obsession with young Kate Kelly. Orchestrations for male ensemble number “Timber and Steel” capture the metallic clang of working on the railroad, and provide an opportunity for some energetic choreography from Michael Ralph.

“White Dove” is a beautiful a capella quartet for male voices, and is all the more chilling for the violence it precedes. The woman have their turn with act two quintet “A Woman’s Hand,” in which the female characters reflect on the impact that the escalating crime and violence has had on their lives.

Early scenes establish the bond between young Ned and his dear mother Ellen and convey the joyful warmth of the Kelly home. Given he is the title character, Ned’s I Wish song, “Hope of Australia” might have come a bit earlier than thirty minutes into the show. Constable Fitzpatrick, ostensibly the villain of the piece, shares his inner voice in the tender “Alexander.”

Book writers Anna Lyon and Marc McIntyre neatly condense a significant amount of storytelling and successfully establish a large array of characters.

The somewhat extended length of early book scenes pays off in our attachment to these characters, leading to a high degree of tension when Fitzpatrick makes his drunken, sleazy visit to the Kellys. The relationship between a law enforcer and lawbreaker has natural comparisons to Valjean/Javert, yet the scenario here is arguably more complex so as to achieve a far more fascinating effect.

Ned’s journey to outlaw is generally shown in a sympathetic light, yet the death of three policemen at the end of act one is shown in raw, powerful way. The tension of the final third of act one is not quite maintained in act two as the storytelling slows to a more gradual pace. With the Kelly gang on the run, community support grows with their infamy. A bank robbery is shown as a bit of a lark, with Ned destroying records of the debts of the poor.

Lyon and McIntyre experience some difficulties in balancing the need for concise exposition with the creation of natural-sounding dialogue. There is strength in their comedy, as laughs are derived through the natural laconic nature of the characters rather than through music theatre gags.

This premiere season benefits greatly from the guidance of highly experienced director Gary Young. Even more valuable than Young’s skillful storytelling and confident use of space is the palpable warmth of the connections he has cultivated between the onstage characters. The pride and the joy of the Kelly family home and of the local community are seen as highly prized and worth defending at all costs.

Musical director Loclan Mackenzie-Spencer makes the daunting task of presenting new music look deceptively easy, presiding over a large band of 18 musicians with flair, and delivering confident, highly appealing vocals from the cast. Musical reproduction is reliably pristine from sound designer Marcello Lo Ricco.

Rob Sowinski uses an abundance of haze to add texture to his lighting design. In company numbers it can be quite difficult to tell who is sing at any given point, an issue that jointly rests with the lighting and sound designers and the director.

McIntyre uses a rich, textured dark ochre palette for his set design, which makes good use of the height and width of the stage, and clearly suggests a range of locations with a few simple strokes. Emily Barrie’s costume design nicely balances realism with a touch of theatricality, and greatly aids the clear establishment of the wide range of characters by the cast of 25.

Nelson Gardner, who hails from Bendigo, is very well cast as Ned. Charismatic and masculine, Gardner effectively delivers strength and menace with understated effort. Gardner’s vocals have a natural quality that adds to his overall appeal.

Penny Larkins gives a powerhouse performance as Ellen Kelly, proud mother to an ever-growing brood of kids. Larkins never drops the spark of love and pride in Ellen’s eyes, bringing out the best in those around her as well. Larkins’ effortlessly tender vocals are heard to great effect in ballads “Life’s A Road” and “My Son.”

Alana Tranter and Hannah Fredericksen hide their blonde locks under thick red manes as feisty sisters Maggie and Kate Kelly. Lovely singers both, Tranter carries a great deal of the heart of the story in act two as Maggie pines for the men in the run, and Fredericksen energetically captures the frisky naiveté of youngest sibling Kate.

Connor Crawford reveals a stunning singing voice as Joe, with strong male energy coming from fellow young male leads Robert Tripolino as Dan, Brent Trotter as Steve and Will Rogers as Aaron.

Nick Simpson-Deeks successfully brings out the full spectrum of Fitzpatrick, linking the character’s low self-esteem and cowardly dishonesty to his small stature and his frustrating speech impediment. Fitzpatrick’s nuanced performance is a significant part of the effectiveness of the central dramatic relationship between Ned and Fitzpatrick. Andrew Broadbent brings quiet dignity to Fitzpatrick’s conflicted senior officer, Hare.

Amelia Christo beams with delightful warmth as innkeeper Ann Jones, also displaying her finely honed dramatic skills when portraying the conflict Ann experiences when asked to pass on a dead policeman’s watch to his widow.

There will doubtless be opportunities to tighten and polish Ned. To say that the musical shows promise is a great understatement. It is a very long way on the road to being a fully realised musical that a wide range of audiences can enjoy.

Ned A New Australian Musical plays at Ulumbarra Theatre, Bendigo until 31 May 2015

Photos: Kerry Brown

Verdi’s grandest opera is given the meticulous and magnificent treatment it deserves in this most welcome revival, the glittering centerpiece of this very well received Melbourne Autumn season.   Beginning and ending in an ornate mausoleum, the spectre of death looms heavily in this examination of the constrictive effect of the intertwined forces of church and state on personal freedom and love. The lengthy running time gives ample breathing space for characters and audience alike to ponder the life and death dilemmas and decision faced by the sixteenth century Spanish royal court.

The opera is performed in Italian (despite use of the French title) in the four-act version, which removes the prologue-like first act that shows Carlos and Elisabeth falling in love before her hand is claimed by Carlos’ father, King Phillip. Fortunately, Carlos’ big aria, “Io la vidi,” is moved from the original act one, when he first sees Elisabeth, to become a recollection of that moment in the first act of this version.

Fast becoming a popular fixture on the Opera Australia stage, Mexican tenor Diego Torre plays his sixth lead role as the title character, again demonstrating the unflinching power of his mighty tenor voice. While singing with great strength, Torre’s physical performance expertly conveys the powerlessness of the heir to the throne and the utter futility of his romantic attraction to his father’s wife. Acting performances are excellent all round, an attribute due, in no small part, to the presence of original director Elijah Moshinsky, who has returned to helm this revival of his 1999 staging. Understanding the power of stillness, Moshinsky eschews unnecessary action for calm, focused scenes, in which the singing and acting talents of his cast are afforded full attention.

More than a simple scenic design, Paul Brown’s work on the settings contains many aspects that are closer to works of art than backdrops. The looming green marble of the mausoleum contorts to create the interim scenes before returning for the finale, in which the painful figure of deceased Charles V makes a final ominous visit. The most ingenious aspect of Brown’s designs is the use of intricately detailed panels and sculpture that clearly represent the people’s use of art to display, remember and celebrate their history, ethics and culture. These pieces are absolutely fascinating, and make one long to go on stage and view the works as if in a museum display.

Brown’s costumes are similarly highly impressive, with acres of luxuriant dark silk in use. The extraordinarily wide dresses are seen in their highly decorative splendour whilst also conveying the cumbersome restrictions they made to women’s freedom while supposedly protecting their virtue. Maestro Andrea Licita took a few extra moments at this performance to carefully focus the attention of the musicians before they embarked on Verdi’s score. At 225 minutes with only one interval, the epic challenge is met by Orchestra Victoria with high honours. The brass players, in particular, retain plenty of oomph for forte fanfares right to the end.

Chorus master Anthony Hunt’s preparation of the Opera Australia Chorus is reliably excellent. The Chorus has a real showcase at the end of act three, and the sound emanating from the stage was nothing short of magnificent.

José Carbó is in excellent form as Carlos’ close ally Rodrigo, impressing particularly with Rodrigo’s final aria, “Per me giunto è il dì supremo.” Torre and Carbó enjoy the most hummable tune of the opera, the stirring friendship duet, “Dio, che nell’alma infondere.” Tall and fit, Italian bass Giacomo Prestia brings a commanding virility to aging king Phillip II. After the grand pageantry of the Auto-da-fé, seen just before interval, Prestia’s introspective rendition of “Ella giammai m’amò” is masterful in the use of silence and stillness.

Clearly on her way to becoming an operatic superstar, Serbian-born mezzo-soprano Milijana Nikolic (now an Australian resident) gives another stunning performance as the exotic aristocrat Princess Eboli. As in her recent standout performance as Amneris in Handa Opera on Sydney Harbour Aida, Nikolic matches the glorious sound of her voice with a magnetic, intelligently detailed acting performance. With such talent, her extraordinary beauty is simply an added bonus. Russian soprano Victoria Yastrebova makes an auspicious Australian debut as the enticing Elisabeth. While her golden soprano is easily of comparable beauty to her colleagues, Yastrebova does not quite cultivate the same presence on stage, perhaps due to her youth. Her rendition of Elisabeth’s final aria, “Tu che le vanità,” is a lovely highlight. Daniel Sumegi looks believably older as the Grand Inquisitor, and, in no mean feat, matches the impressive power and focus of Prestia. David Parkin gives a finely controlled physical performance as deceased Charles V. Special mention to soprano Julie Lea Goodwin, who provides the gorgeous Voice from Heaven.

Don Carlos is an all too rare event that must be seen by Melbourne opera lovers. Don Carlos plays selected dates at State Theatre, Arts Centre Melbourne until 29 May 2015

Photos: Jeff Busby

Legendary Broadway musical Dreamgirls finally makes its Australian premiere in this flashy presentation from innovative, uncompromising independent theatre company StageArt.

A Tony-winning hit in the early 1980s, Dreamgirls is widely known from its high profile 2006 movie adaptation. If casting a full company of African-American performers deterred local producers from ever mounting the show, StageArt deserve extra credit for their vision in sourcing performers who not only look the part but are also highly talented.

The distinctly American story follows the swift rise and dramatic implosion of a girl group during the time that R&B music crossed over into the realm of popular music. Loosely based on Motown producer Berry Gordy and Diana Ross and The Supremes, the 1960s scenes throughout act one make for quite a thrilling roller coaster ride, while the 1970s problems faced by the characters in act two have a mellower edge.

Henry Krieger’s music captures a range of flavours, from R&B and soul to pop and rap, and music director Tyson Legg leads nine rocking musicians in bringing these styles to life. Vocal preparation is also very strong, with tight, smoothly blended harmonies a feature. Expert sound designer Marcello Lo Ricco ensures that Tom Eyen’s lyrics are clearly heard, a crucial factor in this largely through-sung show.

Director Terence O’Connell has cast the show’s distinct characters extremely well, and propels the action forward with a cinematic flow between scenes. A good proportion of the blocking has performers facing forwards, but more of this is needed overall so as to allow a stronger connection between audience and performers. While younger members of the cast will surely gain in confidence as the season progresses, there was perhaps the need for more guidance in fully developing their characters and managing their energy and focus. Given the amount of acting, singing, dancing, costume and wig changing involved, it is an incredible result overall, particularly after only one preview performance.

A clear highlight of the production is Daniel Harvey’s creative, spectacular, intelligent costume design. The countless outfits not only look wonderful but are also a key aspect of the story telling, tracing the journey from homespun frocks to glamorous gowns, with some ingenious fast changes along the way. Lucy Wilkins’ wigs complement the styles perfectly. Some of the transformations achieved in the side stage wings would take hours in a photo shoot environment.

Jacob Battista’s black scaffolding set design is not particularly inspired, but it does make amazing use of the small space. Acres of glittering black fabric give the venue the semblance of a proscenium arch theatre, somehow accommodating 19 performers and 9 musicians.

Choreographer Darren Stack performs miracles in the tight space available for movement, delivering crisp, well-rehearsed moves that are highly evocative of the era and are fun to watch.

Jason Bovaird’s multi-faceted lighting adds constant visual appeal, particularly during the concert numbers, and effectively transforms the single set stage to a range of locations.

In an extraordinary stage debut, Thando Sikwila is perfectly cast as Effie White, the troubled young woman whose natural talent is undermined by paranoia, both valid and unfounded. Sikwila captures Effie’s diva-like surly petulance as well as her doll-like sweetness when things go her way. Act one builds to all-time classic torch song “And I Am Telling You I’m Not Going,” and Sikwila brings down the house, with resounding applause lasting through the next song all the way to the interval break.

As Deena Jones, talented young actress Anna Francesca Armenia is styled to closely resemble Miss Ross, also recreating the famous star’s winning smile with flair. Armenia sings the role well, and while her character’s promotion to lead singer is believable, later scenes call for a rise in diva-like vanity. This distinction is sure to develop as Armenia inhabits the role over the season.

Zenya Carmellotti is adorable as Lorell Robinson, projecting an engaging innocence and excitement as the eager young singer. The character of Lorell is lumbered with an extended act two scene with philandering partner Jimmy that is not all that compelling, but Carmellotti brings plenty spunk to her musical performances.

Canny casting choices delineate the range of male characters. As car salesman turned producer, Winston Hillyer has a commanding bass voice that strongly supports Curtis Taylor Jr’s authoritative manner. While his voice is highly expressive, Hillyer needs to cheat front far more often so as to engage with the audience and raise the impact of his character’s cheating and double-dealing ways.

Djon Alexander is excellent as C. C. White, Effie’s sweet song-writing brother who eventually stands up for himself to defend his contribution to the artists’ musical success. Gareth Jacobs is in terrific voice as egotistical R&B star Jimmy Early. Although Jacobs’ style has a crowd-pleasing edge, he does not quite nail the character’s self-assured, womanising ways. Augustin Tchantcho provides solid support as hard-edged long-term music artist manager Marty.

Small quibbles aside, this visionary production has great appeal. Music theatre aficionados should not miss this rare chance to experience Dreamgirls.

Dreamgirls plays at Chapel off Chapel, Melbourne until 14 June 2015

Photos: Belinda Strodder

Everything old is new again as a sensational cast brings daffy delight Anything Goes roaring back to life.

Director Dean Bryant and choreographer Andrew Hallsworth are in peak form, treating the material with the utmost respect and enhancing it with a multitude of witty, intelligent, creative choices. Even those who know the material back to front and inside out will laugh out loud and tap their toes all over again.

The glittering jewel in this cast of triple threats is living kewpie doll Caroline O’Connor, giving a performance that is set to be worshipped for the weeks ahead and talked about for years to come. An ageless, tireless trouper, O’Connor belts out the score with supreme power, dances with more energy and elasticity than youngsters half her age, and sprinkles delectable comic pizazz through her every song and scene.

Even more impressive, O’Connor manages the impossible, which is to make Reno Sweeney a living, feeling human being rather than a clothes horse who trots out on stage for showstopper after showstopper. Anything Goes has the featherlight book of shows like 42^nd St and My One and Only (the juke box musicals of their day), where production numbers are linked by the wispiest threads of plot. O’Connor plays the desperation, effervescence, mania, calculation and lovelorn longing that drive Reno and, by extension, the entire plot. Her Reno has a clear history with Moonface, she starts singing “Anything Goes” to take the heat off Billy rather than just to end the act on a high, she falls for Evelyn as he carries on throughout “The Gypsy In Me,” and she is both affecting and affected in gospel anthem “Blow Gabriel, Blow.”

O’Connor enjoys zinging chemistry with three terrific leading men.

In a high profile role that is long overdue, Alex Rathgeber has charm to spare as love-struck Wall Street broker Billy Crocker. Hits like “Easy to Love” and “All Through The Night” show off Rathgeber’s smooth, supple tenor, and he equally impresses in comic scenes and dance numbers.

Surely the first portrayer of Lord Evelyn Oakleigh to be given star billing, Todd McKenney gives a nicely controlled performance that lets the buffoonery of the culture-struck character shine through.

While O’Connor’s duets with Rathgeber (the infectious “You’re The Top”) and McKenney (the outlandish “The Gypsy In Me”) each shine, the standout comic duet of the night comes when O’Connor teams up with fellow hoofer and Vaudevillian-style comedian Wayne Scott Kermond for “Friendship.” Kermond does not really give an indication of the actual gangster side of Moonface Martin, but the physical and verbal comedy are right up his alley.

As debutante Hope Harcourt, Claire Lyon’s gorgeous soprano is a pleasure to hear. Lyon looks divine in blonde marcel wave and form-fitting 1930s fashions, but rather than just look pretty, Lyon adds some engaging backbone to a role that is often played as an insipid wallflower.

Inexplicably not yet a household name, Debora Krizak gives another fully realised, wickedly nuanced performance as gangster’s moll Erma. Looking every bit the silent movie goddess of the 1930s, Krizak adds a welcome dash of danger to the usual airheaded characterisation of Erma. “Buddy Beware” has always been an odd choice for an 11 o’clock number, but Krizak delivers it as a characterful revelation on par with A Little Night Music’s “The Miller’s Son.”

Carmen Duncan bring a touch of grace as Hope’s mother Evangeline Harcourt. Bartholomew John plays Elisha Whitney with stoic dignity.

Gerry Connolly proves there are no small roles as the charismatically camp Captain. Special mention to baby-faced Josh Gates who not only acted, sang and danced with eye-catching flair, but also provided a human platform as Krizak was lifted overhead in “Buddy Beware.”

Hallsworth peppers the duets with all manner of sight gags, but his accomplishments are the incredible showstoppers. Well-known tap number “Anything Goes” builds and builds as Reno progressively infects her shipmates with the joy of dance. A bit of a master with props, Hallsworth makes great use of life preservers in the spectacular routine. The hypnotic energy of “Blow Gabriel, Blow” is sensational, and contains a brilliant touch where Reno grabs Evelyn and selflessly pushes Billy to Hope, giving both pairs an extra chance to connect and develop. Hallsworth and team have also added an extra encore after the bows, which leaves the crowd on an even greater high.

Bryant focuses the energy and talents of the lively cast into outsized, but well-controlled, comedy and clear, character-driven storytelling. Where Bryant’s direction of Anything Goes for The Production Company was undermined by the vast width of the State Theatre stage, here the action is punchy and the comic timing is snappy.

Music Director Peter Casey leads 16 on-stage musicians who deliver plenty of zing and sparkle to Cole Porter’s classic score.

Sound design by Michael Waters is excellent, with vocals and music well balanced and every punchline heard with clarity. Lighting designer Matt Scott paints the space with vivid colour in “Blow Gabriel, Blow,” with another attractive effect coming in “It’s De-Lovely” when Billy and Hope dance in rosy pink light while the other couples are in steely blue.

In contrast with the splashier, glossier costumes of the 1988 Australian production, Dale Ferguson’s costumes are equally attractive, but have a more realistic edge. Highlights include Hope’s stunning gold-laced wedding gown, Erma’s shimmering, floor length silver gown, and the female chorus’ colourful, attractive daywear. And there is always an extra touch of class when the leading lady has a fresh outfit for the curtain calls.

The uninspired scenic design is attributed to Ferguson as “Set Adaptation,” and it is assumed that there was little scope, or budget, for him to adapt this in any sort of appealing, attractive or interesting way. While effective use is made of the rotating unit that slides in from under the band’s platform, the general stairs, railings and platforms are very plain, without a trace of art deco. The placement of the imposing bow of the ship (waves, seagulls and all) upstage behind the action is quite inexplicable.

Cast, choreography and costumes are three compelling reasons not to miss Anything Goes.

Anything Goes plays at Princess Theatre, Melbourne until 19 July 2015 before touring to Brisbane and Sydney.

ps if newcomer Alex Gibson-Giorgio has not moved out of the chorus and into leading, or, at the very least, featured roles within two years, I will abandon theatre reviewing and take up Nascar driving

Photos: Jeff Busby

Packed with unabashedly joyful tunes, A Super Brady Cabaret is wickedly funny.

From a deceptively simple concept by StageArt co-executive producer Robbie Carmellotti, Drew Downing and Carmellotti have written a slick, camptastic book that is laugh out loud hilarious. For a television show that has been lampooned so thoroughly already, Carmellotti and Downing still find loads of comic material, freshly skewering the iconic characters with devilish digs and puerile putdowns.

The conceit of the show is that the original TV cast, who now call each other by their character names out of sheer habit, have wearily come to the end of a final, early 1990s world tour of television specials. This ingenious aspect of this scenario is that the “commercial breaks” provide a chance for the actors to turn off their phony smiles and interact honestly, thus providing delicious subtext when the show is back “on air.” Dirty secrets come spilling out, all the funnier for the innocent façade they hide behind.

Co-writer Downing does quadruple duty, also serving as director, musical director and choreographer. The high-energy direction is a winning aspect of the show, with all eight performers creating all sorts of comedy as they stay perfectly in character through every song, dance and scene. A daring final move pays off handsomely, as the comedy is set aside for a momentary poignant scene in which Carol is struck by the reality of ending the long running “family.”

The scenario of a television special also allows for a range of songs to be sung, with each character having their turn in the spotlight. The chosen songs are an absolute delight, with many of them not heard for years. When was the last time you heard “High Hopes” or “Sunshine Day”? The choreography mocks cheesy face-the-camera steps and the production numbers sends up the tacky, low budget simplicity of TV specials.

The show is performed on the Dreamgirls set, with lighting again by Jason Bovaird. A technical hitch, so rare for sound designer Marcello Lo Ricco, caused an annoying amount of microphone crackle; this will surely be quickly remedied for subsequent performances.

Each of the performers is well cast, with terrific comic talents as well as singing voices of especially good quality.

Lauren Edwards is wonderfully watchable as Carol, who is now a bit of an uptight bitch sorely in need of a cathartic breakdown. Paul Congdon keeps his face much straighter than his character as Mike, landing plenty of twisted comedy.

Kathleen Amarant is a blonde vision as the vapid Marcia, still obsessed with being a teen model. Thomas Bradford conveys the funky vibe of sexy oldest son Greg, the object of lust for many a roving family eye.

Sophie Weiss is sensational as poor, put-upon Jennifer, Jane, Jan, the girl who can do no right. In contrast with her simpering character, Weiss has a fantastic singing voice and can really belt a tune. Similarly, Nicolas Guzzardi gets a great laugh when we hear her real, non-lisping singing voice in a dream sequence when Cindy consoles and counsels her mother with “Never Been To Me.”

Giancarlo Salamanca has an authentic look as Peter, who has left a trail of sexual conquests around the globe. Dylan Licastro is adorably adorable as glittering youngest son Bobby, who now seems to be following his father’s sexual proclivities.

The perfect early evening winter warmer, A Super Brady Cabaret is a winning comedy treat.

A Super Brady Cabaret plays at Chapel off Chapel, Melbourne until 13 June 2015.

ps the idea of putting The Brady Bunch on the musical stage seems quite popular today.

Photos: Belinda Strodder

The Australian Ballet finds an ideal balance between classical story ballet and classical abstract ballet in this delightful evening of Frederick Ashton masterworks.

The program commences with a pigeon pair of plotless pieces, each blending classical dance with subtle but distinct modern edges.

Each of the perfectly matched pair in the first half projects an air of tranquil serenity. Grounded, exquisitely controlled dance comes forth gently in these ponderous, delicate offerings.

Monotones II is set against the dark blue of twilight, with a trio of beautifully matched dancers looking like literal monotones in full length unisex white unitards. Capped in tight white turbans and flecked with hints of glitter, the trio moves with tight precision. The dancers’ pristine white costumes are reflected on the gleaming tarkett.

Natasha Kusen is flanked by Brett Simon and Jared Wright in arrangements that alternate between sharply symmetrical designs and breakaway pairings. Satie’s music flows ever so languidly, yet movement is still rhythmically synchronized thanks to well rehearsed shorthand communication that is telegraphed ever so surreptitiously.

As the twilight fades to the full dark of night the under-fifteen-minute piece is over all too soon.

After the briefest of pauses, the curtain reopens to the startling vivid yellow backdrop of Ashton’s Symphonic Variations, which is enjoying its long-awaited Australian Ballet premiere season. While the soaring black lines on the scenery apparently represent the rolling hills of an unspoiled England, they could equally be interpreted as the lines of the musical stave gone haywire, tying in with the variations of the ballet’s title.

The piece opens with female dancers Dimity Azoury, Natasha Kusch and Ako Kondo taking centre stage, framed by males Brett Chynoweth, Cristiano Martino and Christopher Rodgers-Wilson. Again in white, with neat black trim lines to complement the scenic design, the six dancers remain on stage throughout, gently pushed and pulled into various combinations.

Franck’s music is arranged as a call and answer conversation between grand piano, played by Stuart Macklin, and other instruments. Each dancer has their moment to lead as the music gently ebbs and flows around the pit. In a neat conclusion to the cyclic work, the piece concludes with the dancers back in their opening positions.

Particularly striking in these stripped back, unadorned works is the level of sheer beauty the dancers can create even without the trappings of tutus, tulle and tiaras.

In crisp contrast to the sheer open stage of the first half, the curtain rises after interval to reveal the richly detailed forest setting of The Dream, Ashton’s miraculously condensed telling of Shakespeare’s classic comedy A Midsummer Night’s Dream.

David Walker’s tactile, textured sets look all the more intricate for the mystical lighting design of John B Read (recreated here by Francis Croese). Walker’s fairytale costumes share a unified palette of dark turquoise green with the mossy foliage of the scenic design. The pairs of lovers stand out in warm shades of amber.

Madeleine Eastoe and Kevin Jackson are a superbly regal pair as Titania and Oberon, imparting the storytelling with flair and conveying the gentle comedy with ease. Sporting a billowing gossamer cape, Jackson is nonetheless as masculine as ever, modifying his commanding presence for this pleasantly genial role. Eastoe is a natural Fairy Queen, moving with heavenly grace and beaming with angelic joy. A grounded, free flowing affair, the pair’s climactic pas de deux ties in strongly with the earlier ballets, nicely tying the evening’s program together. Eastoe and Jackson dance with effortless beauty, making Eastoe’s imminent retirement all the harder to take.

As nimble sprite Puck, Chengwu Guo leaps about with such dynamic energy it almost looks like he is a magical effect that has been added using cinematic CGI. Guo’s brilliantly controlled movement and delightful facial expression captures the spirit of mischievous Puck perfectly, adding further layers of enjoyment to the storytelling.

Interludes by dainty fairy corps punctuate the briskly told tale. Ashton uses a different vocabulary of dance for The Mechanicals, who make a masculine entry midway. Corps de ballet dancer Joseph Chapman makes a wonderful showing in the crowd-pleasing role of Bottom, the mechanical who is cursed with a donkey’s head. Dancing en pointe, Chapman prances about with utterly deceptive ease, creating delicious moments of comedy as Bottom nibbles on the flowers on Titania’s dress and “brays” to Mendelssohn’s music.

Galvanised by the expert creative input of a legion of international experts, including the “owners” of each ballet, The Dream is a polished, ponderous, pristine night at the ballet.

The Dream plays at State Theatre, Arts Centre Melbourne until 13 June 2015.

In this Year of Beauty, Man in Chair has also reviewed:

Madeleine Eastoe and Kevin Jackson in Maina Gielgud’s Giselle: “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.”

Photos: Daniel Boud

In their second annual Culture Project season, Gertrude Opera shares an immersive, highly affecting experience in Benjamin Britten’s Curlew River.

Subtitled A Parable for Church Performance, the alternative venue is not the only change director Linda Thompson and team have made with this work. Written for some 13 male voices, the company has adapted the piece for the singers on hand, strengthening the impact of the central characters significantly.

Seated in the centre of Peter Corrigan’s simple but striking white stage design, seven talented musicians from the Forest Collective play the haunting, driving music. Performing without a conductor, as prescribed by Britten, there are moments of hesitancy, but overall the combined effect of vocal and instrumental music reflects the excellent preparation by Dr David Kram, Pam Christie and Irina Cherkassi. Using the instruments for Britten’s exact arrangements is certainly far more atmospherically effective than a simple grand piano would have been.

The church setting is reflected in the opening and closing hymn-like music, as members of the congregation, so to speak, come forth to disrobe from their winter coats and ritualistically prepare for the performance before returning to their pews afterwards.

Unfortunately, Corrigan’s white skivvies and long johns are not flattering for any body type, but at the least the lead performers are better served with their costumes. The red star worn by each member of the ensemble is a clever modern touch. Anyone who has been to Times Square or Trafalgar Square recently will have seem tour groups all wearing some distinctive unifying symbol. This situation is mirrored exactly when the Ferry Man leads the marching boatful of passengers with his hand high in the air.

French artist Agathe de Courcy gives a highly committed central performance as the madwoman who has lost her young son. de Courcy sings with the power to fill a far larger venue, and immerses herself entirely in the woman’s searing grief. There is a sense of privilege in being there to witness such an intense performance.

Spurned by her fellow passengers initially, the woman undergoes a cathartic experience as the travellers come to understand and respect her grief. The music builds to the point when the voice of her deceased child is heard by all (a lovely solo by Tamzyn Alexander). The journey is completed by a baptism in the river, a cleansing ritual that leaves the woman, in de Courcy’s capable hands, visibly relieved, grateful and exhausted. Ultimately, however, the woman is left alone and desolate, accepted by her fellow man but still without her dear child.

In both her vocal and facial expression, Mezzo-soprano Belinda Brakhoff emanates tender warmth as the Abbot. Adrian McEniery sings with commanding power and authority as the Ferry Man. Owain Browne gives solid, sensitive support as the Traveller.

 Members of the ensemble deliver well-blended vocals, and their focus and expression contribute greatly to the impact of the storytelling.

Curlew River plays at fortyfivedownstairs 30 May – 6 June 2015.

Photos: Lyz Turner-Clark

High on rock but light on horror, the low budget tour of Rocky Horror Show returns just in case a few theatre- party-goers missed the wild ride last year. While the return of the recent Grease revival showcased a tight ensemble cast that had had honed their performances to impressive heights, the turnover of cast here makes it more than ever the Craig McLachlan Show. Unfortunately, the talents McLachlan has that make him suitable for the role, such as his rich, expressive voice, are lost amidst his endless mugging, prancing and pulling focus.

After a slick start to the show, storytelling grinds to a halt from McLachlan’s first entrance as Frank-N-Furter, as it impossible to focus on spoken or sung lines that are repeatedly interrupted by ceaseless attempts to get at laughs. Visual and verbal gags that might be funny once are repeated three to five times, promptly draining away the humour. Worse, any potential poignancy in the finale is lost thanks to McLachlan’s wink-wink breaking of the fourth wall throughout the night. It is, in the end, impossible to take him seriously or feel anything for his character. Technically, the production has improved, with sound design, by Gareth Owen, being very clear and strong. Volume is suitably high without being overpowering. Nick Richings’ lighting design has been polished to a point where it often masks the bland simplicity of Hugh Durrant’s sets. Sue Blane’s black and red costumes for the curtain calls and encore are noted as a stylish touch. The very basic nature of Nathan M Wright’s choreography, however, seems more noticeable now that the production joins two dance shows on Melbourne stages. As stressed-out sweethearts Brad and Janet, Stephen Mahy and Amy Lehpamer are welcome additions to the cast, providing a good match in looks and talent to their predecessors. Lehpamer’s strong, pure belt is heard to great effect, particularly in “Touch-a Touch-a Touch Me,” and Mahy lands the one gentle moment of the night in “Once In A While.” Kristian Lavercombe continues to rock the role of Riff Raff. Nicholas Christo maintains the terrific contrast between meathead rocker Eddie and conservative wheelchair-bound Dr Scott. Brendan Irving is buffer than ever as Rocky. Newcomers Jayde Westaby, as Magenta, and Angelique Cassimatis, as Columbia, do little to help create the quirky, spooky vibe that is sorely needed to help Brad and Janet appear as straight-laced outsiders. Cassimatis’ strong singing voice impresses in the small amount of singing she has to do.

It would seem to be a significant improvement that an actual star performer has been cast as Narrator this time. Lovable old Moonface Bert Newton, however, does not generate a single boo or hiss, rendering the once delectably reviled role as basically neutered. Suzanne Steele, Darren Tyler and Drew Weston join Meghan O’Shea in the virtually invisible chorus roles of Phantoms, the talents and good looks of these performers buried under unisex black make-up, wigs and clothes.

For blue chip music and terrific cast we have Anything Goes, and for lavish production values and Australian humour we have Strictly Ballroom. Newcomers and hens nights might enjoy the raucous humour of Rocky Horror Show.

Rocky Horror Show plays at Comedy Theatre, Melbourne until 12 July 2015

Photos: Brian Geach