Having first dropped slipper in the Melbourne 2013 premiere, Alexei Ratmansky’s new staging of Cinderella confirms its status as an instant favourite of the repertory.

Far from a safe, sweet storybook adaptation, Ratmansky’s bold, intriguing choices are anything but predictable. Combined with Jérôme Kaplan’s equally fascinating designs, this is a richly detailed, highly entertaining production that rewards repeat viewings.

Part of the enjoyment is the scope for different artists to share their interpretation of the main roles, which have a fluidly expressive quality rather than a tightly choreographed rigidity. The piece is also enhanced by the nicely balanced blend of cheeky humour and sweeping romance.

With several traditional full-length ballets seen since this production premiered, the scope of Kaplan’s scenic design can be appreciated all the more. The sweeping scale and sumptuous details are striking, but it is the dynamic nature of the fluid scene changes that really set the production apart. Massive sets glide in and out with an integrated grace that would make the most lavish music theatre spectacle weak with envy. Combined with the judiciously selected and artfully created projections of Wendall K. Harrington, and the expert lighting of Rachel Burke, this is modern theatre of the highest calibre.

Kaplan’s textured, tactile costumes provide fascinating visual appeal. The swirling cosmos of personified planets, visited by Cinderella at the end of act one, are particularly attractive. 

Rarely is costuming such a key part of a narrative as in Cinderella’s ball scene: the women begin in smoky-hued pant suits then all promptly change to match Cinderella’s feminine cinched-waist dress. The Stepmother and Stepsisters, meanwhile, reappear in pantsuits only to find, to their dismay, that they remain out of step with fashion. The cut and colour Stepfamily’s costumes complement their humorous antics perfectly; the sight of Dumpy trying to stretch her short pink coat remains a delightful moment. 

One more word on design: the program notes provide an answer to the meaning of the setting for Cinderella’s home. The family lives in an old theatre, full of abandoned props and treasures that Stepmother has collected.

Maestro Nicolette Fraillon’s characteristic attention to detail results in a superb performance of Prokofiev’s majestic score by Orchestra Victoria. Dynamics are exquisite, with particularly tender playing heard from the violins as well as oboes and clarinets.

While it was disappointing not to have retiring Principal Artist Madeleine Eastoe dance Cinderella on opening night (as was originally listed on The Australian Ballet website), the opportunity to see soon-to-be-Aurora Lana Jones in the role proved to be most auspicious. In splendid form, Jones gives a superbly realised performance, making the massive role seem deceptively effortless and fully engaging the hearts of the audience. Jones deftly changes styles in line with the story’s emotional arc, as Cinderella moves from the pain and longing of loneliness to the beaming euphoria of love to the pain and confusion of heartbreak. Given Ratmansky’s sparing use of mime, Jones full command of facial and physical expression makes the storytelling crystal clear.

With strength, suppleness and good looks to spare, Ty King-Wall is a fine partner for Jones. In a characterisation that is not as multidimensional as it could be, King-Wall mainly focuses on the sweet, kind-hearted aspects of The Prince, losing the transition from vainglorious playboy to tender lover. There is an element of sexual tension missing when The Prince encounters exotic Temptors during his journey to find Cinderella. Nonetheless, King-Wall and Jones’ three big pas de deux each achieve their distinctive character and are danced with rapturous beauty.

Valerie Tereshchenko, Ingrid Gow and Eloise Fryer successfully bring out the full hilarity, vanity and inanity of the deluded, self-serving Stepfamily. Tereshchenko captures the aggressively determined drive of Stepmother, and effectively contrasts her alternating pride and embarrassment in her daughters. Gow and Fryer play up the highly competitive nature of the siblings to great effect.

The featured group of The Prince’s friends is brought to greater prominence by the sterling combined work of Christopher Rodgers-Wilson, Jarryd Madden, Rudy Hawkes and Brett Simon.

Alexei Ratmansky’s Cinderella is bound to thrill newcomers and dance lovers of all ages.

Alexei Ratmansky’s Cinderella plays at State Theatre, Arts Centre Melbourne until 27 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.”

Madeleine Eastoe and Kevin Jackson in The Dream: “Chengwu Guo leaps about with such dynamic energy it almost looks like he is a magical effect that has been added using cinematic CGI.”

Photos: #2,3,4,6: Jeff Busby; #1,5: Lynette Wills

Meredith Willson may have written the book, music and lyrics for The Music Man, but Xavier Brouwer takes this feat three steps further by also acting as director, music director and producer for his new Australian musical Grey’s Lobotomy.

Taking aim at Australia’s Health Care foibles, Brouwer has unearthed a plethora of healthcare public service campaigns, from Life Be In It’s Norm and his aerobicized sister Libby though to the Your Man Reminder App, with a visit from the Grim Reaper and a truly heinous commercial about strokes along the way.

The show in the style of is revuesical, with the focus rotating between scenes and songs involving various sets of health care professionals (or unprofessionals) and patients, with a couple of stand alone songs interspersed throughout.

A harried ER nurse combats a pushy boss, a lovestruck psych nurse and a sleazy boyfriend as she deals with flabby Norm and an escaped mental patient. The boyfriend works in marketing, where attempts to create campaigns for various government initiatives, however inane, seem frighteningly close to the truth.

Directing your own material can be a risk, but thankfully Brouwer does not fall into the trap of creating an overlong or self-indulgent show. The pace is bright and breezy, and cast energy is kept high. The aspect where a second set of eyes could have helped is in a dramaturgical sense. The through line linking the characters is solid enough, and the comedic concept is more than sound, but there is a lack of a distinct “voice” to the material, with some songs and scenes poking fun at health care messages while others take health care seriously, delivering messages of their own. The laugh rate needs work, with a focus on punchlines to songs and scenes.

The most difficult aspect in writing a new show is the music. Fortunately, Brouwer’s significant talents as a songwriter have seen him craft a dozen or so songs, many of which have catchy melodies on first listen. Accompaniment from the band of three musicians is solid, and tight harmonies from the cast are uniformly strong. Songs with a peppier tempo, such as “Power Nurse” and “Work Out” are better suited to the comedy format than some of the slower numbers, which really need to be enlivened. Working with a writing partner or editor may have helped to avoid some of the repetition in the lyrics, a factor that does not help the flow of comedy. Overall, the score is an impressive achievement, especially given the scarcity of new Australian work.

Sarah Tulloch’s collage-like hospital scenic design provides an attractive setting, and the use of real hospital equipment adds an authentic air. Brendan Jellie’s lighting is bright and clear. Tulloch’s costumes are crisp and colourful, with some that really stand out due to extra attention, such as the red and white checks for “Sugar.” This song also features some of Emmie Câpek’s best choreography, with further highlights coming in Florence Nightingale number “Foxtrot with a Lamp.” Câpek is blessed with several cast members who are very strong dancers. 

The cast of six performers works with focus and verve to bring the material to life. Each are well matched in terms of singing ability, being equally confident with solos and harmonies.

Experienced performer Penny Larkins is a good sport as prancercising Libby, and captures the exasperation of modern marketing double talk as Cheryl. Kirsty Gayther has a sweet presence as Violet Grey, plucky heroine of the hospital dramas. Laura Raiti balances the stern Miss Black with some great dancing and chorus work.

Morgan Phillips has a nicely underplayed comedic style, used to great effect as the doddering Grim Reaper. Ollie Bell enlivens all his scenes with perky energy and terrific dancing. Charismatic actor Chris Asimos has a very buff body that makes the transformation of Norm rather amazing.

Given the money and attention lavished on Broadway imports, new Australian works deserve the support and attention of music theatre fans. In its premiere season, Grey’s Lobotomy could still use some nips and tucks, but is pleasant entertainment that is very affordably priced.

Grey’s Lobotomy plays at Kaleide Theatre RMIT, Melbourne until 4 July 2015. It then plays Alex Theatre, St Kilda 8-26 July 2015.

Photos: Michael Diakakis

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

A second opportunity arose to see Alexei Ratmansky’s Cinderella, a visit made all the sweeter by the surprise appearance of Madeleine Eastoe in the title role.

Nominated for a Helpmann Award this week for Giselle, Eastoe shows no sign of her impending retirement as she performs with boundless energy and exquisite agility. The consummate actress, Eastoe’s incredibly integrated performance completely blurs the lines between acting and dance. Her storytelling skills are so refined that the action just appears to be unfolding spontaneously.

Eastoe’s Cinderella is a modest, kindhearted pacifist who cannot bear to see her stepsisters fight and who beams even while doing household chores. Arriving at the ball, Cinderella looks around in awe, humbled to be in such regal, glamorous company.

When Cinderella first dances with Prince, Eastoe begins by conveying Cinderella’s disbelief that he would even look her way, let alone dance with her. After a brief panic about the time, Cinderella relaxes in the knowledge that midnight is a good way off and starts to enjoy herself, relaxing more and more in the Prince’s arms. Initially terribly shy when the Prince suggests she show the guests a dance step or two, she warms into it, soon beaming with delight.

After such shared joy, the crushing disappointment of her loss after midnight is particularly affecting.

Daniel Gaudiello, who danced The Prince in the 2013 premiere, retains a wondrous vitality in the role. Gaudiello makes a supremely confident entrance, certainly looking (as mentioned in the program notes) as though he just stepped out of a Ferrari. Gaudiello’s arrogant Prince looks at the women of court with boredom, even disdain. He can’t get away from the tiresome Stepfamily fast enough.

Initially struck by Cinderella as a fresh beauty, he is clearly won over by her grace and modesty to develop genuine feelings. Gaudiello changes The Prince’s entire body language, leaping ever higher as the character is reinvigorated by the prospect a tantalising love. Dancing an ever-widening circle of jetés, he spreads out the crowd to make room for the future Princess.

Eastoe and Gaudiello’s portrayal of the development of love is so much more powerful than the simplistic cliché of love at first sight. The pair conveys their absolute wonder at finding each other again at the finale, performing the final pas de deux as a dreamlike fantasia of joyous love.

The magnetic Gaudiello is also compelling to watch as The Prince searches the globe for his lost love.

Willowy beauty Amanda McGuigan plays Cinderella’s Stepmother as an imperious but not overly nasty parent.

Natasha Kusen plays Skinny Stepsister as a haughty, vain creature. The competitive Skinny is seen as the one who begins the bickering with her sister. Skinny appears loath to dance a few solo steps at the ball, but manages to strut out a few steps.

Jill Ogai portrays Dumpy Stepsister as a cheeky giggling airhead who is overly excited about attending the ball. Dumpy enjoys her solo dance at the ball, remembering the steps she has been taught in her own muddle-headed way. In act three, Ogai has another nice moment, as Dumpy is sweet to Cinderella before reverting to form when Skinny enters the room.

Kusen and Ogai are particularly confident and comfortable with Ratmansky’s choreography, performing with precision but with a relaxed pleasure that is even more of a joy to watch. There is an overall feeling that the entire company, upon revisiting the piece so soon after its premiere, inhabits the magical piece with a true sense of enjoyment, allowing their flair and artistry to be seen in the best possible light.

Alexei Ratmansky’s Cinderella plays at State Theatre, Arts Centre Melbourne until 27 June 2015.

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

Lana Jones and Ty King-Wall in Cinderella: “In splendid form, Jones gives a superbly realised performance, making the massive role seem deceptively effortless and fully engaging the hearts of the audience.”

Madeleine Eastoe and Kevin Jackson in The Dream: “Chengwu Guo leaps about with such dynamic energy it almost looks like he is a magical effect that has been added using cinematic CGI.”

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: #1-#4 Jeff Busby; #5 Lynette Wills (note: photo #3 shows Eastoe with Kevin Jackson; photos #4 and #5 are from 2013)

What a difference a tenor makes. Joining 2010 stars Phillip Calcagno and Sally-Anne Russell, lively young tenor Brenton Spiteri completes a terrific trio whose antics are as much of a joy to watch as their singing is a pleasure to hear.

Making a welcome return after five years, Melbourne Opera’s delightfully daffy 2006 production of Rossini’s The Barber of Seville remains one of their mostly artistically satisfying. Creative design enhances the humour, and inventive direction creates an unpredictable air that fits the desperate disguises and deceptions of the plot perfectly.

Director Hugh Halliday again presides over the mayhem with a judicious eye, allowing modern references to gain quick laughs without overpowering the original text. If there is a slight lack of polish to proceedings here and there, it is all part of the madcap fun. The humour is outlandish, but is always kept well clear of going over the top. A great many duets are performed straight, relying solely on the wonderful vocal talents of the charismatic singers.

An inspired addition to the modern touches this time is the playing of sneaky snatches of tunes on the keyboard (providing harpsichord sound) during recitative. Dr Bartolo has his very own leitmotif as Mancini’s “Baby Elephant Walk” accompanies his early entrances. From “La Cucaracha” to Mission Impossible to the Pachelbel Canon, these moments are all the funnier for how briefly they are heard. Listen closely for the very witty use of a snippet of Musetta’s “Quando m’en vo” when Rosina claims to have hurt her foot.

Conductor Greg Hocking’s tempi are on the safe side, but this allows Melbourne Opera Orchestra to play Rossini’s cherished score with clear precision. Act two is a little livelier, as musicians and singers alike grow in confidence.

Singing the opera in English is a mixed blessing. Excellent diction facilitates easy understanding of the plot but also tends to highlight the (deliberately) repetitive nature of the libretto.

Anna Cordingley’s two-storey set begins with a fish eye view of the street before rotating to reveal the interior of the residence of cantankerous miser Dr Bartolo. Purple detailing on props stands out attractively against the black and white background. Adapted costuming, not attributed to Cordingley this time, also adds to the visual flair of the production.

Lighting designer Scott Allan makes a nice distinction between daytime and twilight, but struggles to portray the thunderstorm convincingly. The stage is often bathed in rich, warm shades of light.

The romantic warmth of Spiteri’s lovely tenor voice brings to mind the young David Hobson. Spiteri’s pure, clear high notes range from delicate piano to ringing out over the company during ensemble pieces. While his melismatic phrases sound just a little forced, though very accurate, experience will perhaps bring a more relaxed, legato technique. Deftly flipping back and forth from cheeky comic grin to noble romantic expression, Spiteri easily wins the audience’s affection. During Count Almaviva’s final aria, “Hear this! If you resist me now” the audience listen with silent rapt attention, particularly during the a capella section.

Calcagno sparkles with merry confidence as the dapper Figaro, singing the nimble baritone role with deceptive ease. A strong team player, Calcagno enjoys his time in the spotlight but equally allows his castmates to shine. 

Mezzo-soprano Russell is in delightful form as dear Rosina, conveying the comedy with a twinkle in her eye and singing with a golden, expressive tone. When the combination of Russell, Calcagno and Spiteri are in full flight the opera really soars. Singing in English, their work demonstrates the best of what Gilbert and Sullivan were striving for in their comic operettas.

David Gould is once again very funny as doddering Don Basilio (Is Don. Is Good). Slipping in witty asides in different voices, his rumour aria ‘Calumny is a Little Breeze’ is quite hilarious.

Roger Howell is a good sport as the unfortunate Dr Bartolo, cheerfully playing the exasperated straight man to allow the comedy to roll along. Jodie Debono scores with Berta’s breakout aria in act two, “Here’s a man whose years afflict him.”

Terrific fun with a score to match, The Barber of Seville is recommended for newcomers and aficionados alike.

The Barber of Seville plays selected dates at Athenaeum Theatre, Melbourne until 3 July, and plays at Alexander Theatre, Monash university on 10 July 2015.

Photos: Robin Hall

A triumphant success, Victorian Opera’s one-night concert presentation of I Puritani was a finely honed musical showcase focused on the splendour and beauty of the voice.

Freed from the trappings of a fully staged production, Bellini’s gloriously melodious music more than stood up to having the spotlight shone directly on orchestra, chorus and soloists.

Maestro Richard Mills prepared a highly polished, evenly balanced performance of the all too rarely staged opera in which each musical element blended perfectly. Performing on stage, Orchestra Victoria again proved to be not only capable of expert operatic accompaniment but also a visually appealing stage orchestra.

The assembled Chorus sang with focus and precision to create a noticeably unified sound. Male chorus brought controlled vigour to Bellini’s military passages, and full choral work was wonderfully appealing in its balance of power and beauty.

The dark copper walls of the Hamer Hall stage gave a decent impression of the Puritan’s fortress setting. Clarity of the plot was aided through free programs and the welcome sight of big, clear surtitles.

The focal point of the concert was the appearance of visiting artists Jessica Pratt and Celso Andres Albelo Hernandez, and these stars certainly did not disappoint, wowing the audience with dazzling vocal artistry.

English soprano Pratt, who lived in Australia from age 12, found ample scope to display her astounding vocal talents in the central role of Elvira. If Pratt’s fiorature has just a slight lack of definition, it is more than made up for in the accuracy and fullness of tone in her middle and upper register. Pratt gave an effortlessly commanding performance that will long be remembered by all those in attendance.

From her first appearance in gently blended quintet “O di Cromvell guerrieri” (sung onstage), Pratt expertly portrayed Elvira’s emotional journey through joy, heartbreak, madness and recovery. As Elvira prepared for her wedding, Pratt delivered the delightful aria “Son vergin vezzosa,” before moving on to the rapid encroach of madness after Elvira asks “Dov’è Arturo?” only to find herself jilted at the altar.

In act two’s famous mad scene, Pratt moves through “Qui la voce … Vien, diletto” in an electrifying display of passionate but expertly controlled singing. Pratt’s exquisite talent with pianissimi in altissimo is but one feature that brought the house down in this extraordinary sequence. A return to the stage for an extra bow was more than warranted, but Pratt had disappeared in to the wings and Mills eventually had to move on with the show.

Pratt’s thorough preparation gave her a familiarity with the role that allowed her to position herself away from the music stands to perform Elvira’s key scenes. A generous colleague and gifted actress, Pratt brought a distinct warmth and presence to the role, interacting with her castmates so as to enhance the storytelling of the concert performance.

Pratt contrasted a cheerfully bright coral gown with a dark verdant green ensemble to bring a touch of glamour to the evening.

Rising Spanish tenor Hernandez began with a momentary hint of nerves before moving on with great confidence to thoroughly enjoy the evening. In Arturo’s first big aria “A te, o caro,” Hernandez displayed the warmth of his voice as well as his gift for powerful fortissimo singing.

This warmth blossomed into tender, highly romantic tones in the returning Arturo’s extended sequence of arias in act three. To follow such an incredible mad scene was no small task, but Hernandez wowed the audience with his unflagging vocal power and incredible high notes. He managed the high F in full voice in “Credeasi, misera,” also confidently ending the final duet with Pratt on the interpolated high C.

Emerging Australian baritone Nathan Lay more than held his own in this highly experienced company, presenting himself with poise and charisma. Lay delivered the evening’s first aria, “Ah! Per sempre …Bel sogno beato,” with such appealing tenderness that he almost seemed to be the romantic lead, rather than the rival suitor, Sir Riccardo Forth. Lay’s singing and acting talents, along with his alluring charm, are sure to see him in high demand before long.

New Zealand born bass Paul Whelan projected an imposing stature as Elvira’s uncle Sir Giorgio Valton. Whelan seemed to almost run out of voice during act two opening aria “Cinta di fiori” before recovering sufficiently to continue. While Lay’s freshness was an asset, stirring act two duet “Suoni la tromba” was not as thrilling as it might have been due to a somewhat less lustrous contribution from Whelan.

Powerful tenor Carlos E. Bárcenas contributed to the evening’s attractive singing with some featured moments in act one as Sir Bruno Robertson, compatriot of Riccardo. Likewise, mezzo-soprano Tania Ferris sang with supple flair in the supporting role of Enrichetta, widow of King Charles I. Bass Jeremy Kleeman, although a little young to play Elvira’s father Lord Gualtiero Valton, gave reliably strong support.

This was an unforgettable evening of expertly performed, truly beautiful music. It is hard to imagine how Victorian Opera will top this next year, but let us all hope that they will try.

I Puritani was performed at Hamer Hall, Arts Centre Melbourne on Thursday 2 July 2015

The I Puritani program can be read online

Photos: Charlie Kinross

The production may be well known, and well loved, but the Opera Australia role debuts of soprano Lorina Gore and tenor Rame Lahaj make for a scintillating evening.

As long as designer Michael Yeargen’s highly ornate, deliberately crowded settings draw gasps at the iris-like opening of the double curtain, there is no reason for Opera Australia to even consider dispensing with this much revered 21-year-old production. Act two’s fast change from the country house to Flora’s party, during the briefest of pauses, remains a remarkable feat from the hardworking backstage crew.

Verdi’s divine score is heard afresh under the baton of maestro Renato Palumbo. Carefully considered and immaculately controlled, Palumbo’s conducting brings out fine details and emotional underpinnings. By reconsidering the tempi of individual phrases, for example the ominous entrance music of Germont Sr, Palumbo enhances their impact. The countermelodies in the overture are realised so distinctly that they seem to be played by two separate orchestras, adroitly foreshadowing Violetta’s suffering while the parties of Paris continue.

A number of aspects align to facilitate successful debuts for Gore and Lahaj. Revival director Tama Matheson has clearly worked closely and carefully with the cast to mine the text for its full dramatic impact. Moments such as Alfredo’s unconscionably rough handling of Violetta in front of Flora’s guests and the Baron’s challenge of a duel (with a slap of the glove to Alfredo’s face) land powerfully. In the stark final act, Matheson paints a striking stage picture that demarcates each character’s relationship to the dying courtesan.

A host of experienced, well-established Opera Australia performers take the supporting roles, working complaisantly together to create a delightfully festive atmosphere in the party scenes. Dominica Matthews projects joyous warmth as glamorous hostess Flora, hilariously chasing after her protector the Marquis, played by Luke Gabbedy, when she notices his wandering eye. Choice tenor John Longmuir conveys flamboyant fun as Gastone, impressively leading the band of “toreadors” in their party performance. Pelham Andrews matches his strong physical presence with a powerful baritone as Baron Douphol. In lovely voice, Natalie Aroyan is a sympathetic presence as maid Annina.

Negating the law of diminishing returns, José Carbó returns to the role of Giorgio Germont with ever-increasing authority, presence and vocal strength. Using the power of stillness, Carbó puts all of Germont’s command in his voice and steely gaze, building to a superb rendition of “Di Provenza il mar.”

Gore has played leads for Opera Australia and has played Violetta elsewhere, but the role debut on the Joan Sutherland Theatre stage at Sydney Opera House is a significant moment indeed. Gore made a highly auspicious performance, rewarded with a highly enthusiastic outpouring of the warmest possible cheers and applause for her individual curtain call directly after the opera’s finale.

Looking every bit the pale, slight Violetta one might imagine, Gore highlights Violetta’s delicate vulnerability, keeping a tense layer of fear bubbling just below the surface. While a more relaxed enjoyment of Violetta’s reckless abandon will most likely come as Gore builds confidence into the season, the emotional and physical journey is affectingly portrayed.

Rather than the soppy love at first sight that is often seen, Gore’s Violetta maintains a stiffly formal lack of familiarity towards Alfredo at their first meeting. Young and handsome he may be, but means and power are far more attractive to Violetta. During her final sequence of arias in act one, a winning piece of direction sees Violetta sit on a downstage chair and sing directly to the audience. This moment forges a noticeably warm bond between Gore and the audience, making the final applause for act one all more resounding.

Gore’s exquisite soprano proves adept to the range of styles required to sing Violetta. Possessing a particularly effortless coloratura, Gore brings a lovely lightness to ornamental notes. Her control during pianissimo phrases is immaculate, and she switches seamlessly to a more powerful sound for Violetta’s indignation, also conveying joy with bright bell-like tones.

In contrast with her gorgeous appearance in Flora’s act two party, Gore looks (deliberately) ghastly as Violetta sits and awaits her doom in the moving final act. Violetta’s death throes are clear as Gore shows her painfully grasping for the final few phrases of “Addio, del passato.” The pain of what might have been is acutely felt as Violetta dies in Alfredo’s arms like a limp rag doll.

Hailing from Kosovo, Lahaj is the most exciting Alfredo seen locally since Gianluca Terranova in the inaugural Handa Opera on Sydney Harbour. A terrific actor, Lahaj charts the full emotional journey of Alfredo, from ardent admirer to impassioned lover, through to his brutish anger and subsequent shame and sorrow. Despite his striking looks, Lahaj clearly conveys Alfredo’s shy awkwardness at first meeting Violetta. His countenance changes as a dark storm cloud overtakes Alfredo’s logic, which then melts away with as deep regret takes over.

Possessing a rich, luxurious voice, Lahaj moves easily from middle to upper register with equal strength. If there are fleeting moments when his pitching is not quite accurate, it may well have be due to opening night nerves, which will soon dissipate as the season progresses. Combined with his charismatic presence, and his clear enjoyment of being on stage, the tone and lustre of Lahaj’s voice portent a very exciting future.

The perfect choice for newcomers, long-term operagoers will also enjoy and appreciate this season of La Traviata for the thrilling debuts of Gore and Lahaj.

La Traviata plays selected dates at Joan Sutherland Theatre until 22 July 2015.

Photos: Branco Gaica

World-class singers enhance this decadently glossy production. 

Looking as sumptuously polished as in its premiere season some 25 years ago (when tickets could not be acquired for love or money), Graeme Murphy’s timeless staging of Puccini’s final opera has aged remarkably well. In fact, the level of artistic collaboration has rarely been matched. Instrumental and vocal music, dramatic action, choreography, scenic design, costume design and lighting design come together in a tightly integrated package that would unravel if even one element were to be removed.

Murphy demonstrates that choreography is more than dance, as he fills the stage with ever-changing, undulating waves of chorus members. With massive vocal demands on the chorus, Anthony Hunt’s preparation is clearly first rate given the amount of movement and expression required from the chorus while singing. Lovely work also comes from the Opera Australia Children’s Chorus, prepared by Thomas Johnson.

Kristian Fredrikson’s abstract scenic design keeps pace with the movement of cast, creating a fascinating flow of non-specific, ingeniously realised Asian imagery. A particularly inventive, and entertaining, sequence comes in the first scene of act two, in which the bamboo parchment scrolls of Ping, Pang and Pong are used in a multitude of highly creative formations.

On a crisp black and white canvas, Fredrikson makes splashes of gleaming yellows, along with occasional, carefully chosen strokes of red. Princess Turandot’s intricately embroidered white-on-white robe is a shimmering highlight.

The lighting design of John Drummond Montgomery serves to both highlight and enhance Murphy’s action and Fredikson’s designs as well as allowing the on-stage Mechanicals to furtively support the effects in shadow. The luscious midnight purple haze that accompanies “Nessun dorma” is a very attractive and atmospheric feature of the lighting.

Revival director Kim Walker lands the bold strokes of Murphy’s storytelling with flair, also bringing out the quiet human moments of the poignant fairy tale in an affecting manner.

It’s all too rare for an opera to have a dance captain, but this is, of course, no ordinary production. Timothy Farrar has the movers of all abilities working in tight, focused unison.

Maestro Christian Badea leads the Australian Opera and Ballet Orchestra in an expert performance of the complex score that neatly balances technical precision with lyrical, romantic warmth. Strong playing from the trombones provides moments of hefty dramatic oomph.

In addition to superb singing from the Opera Australia Chorus, the lead cast provides highly memorable vocals of extraordinary quality.

South Korean tenor Yonghoon Lee is a magnetic figure as the brave Calaf. As heard recently in Met Opera’s Don Carlo, Lee’s rich, powerful projection moves seamlessly from middle to upper register. His middle register has an almost baritone-like burnished quality, while his upper notes are incredibly strong. Lee’s “Nessun dorma” is a sensational highlight, sure to be heard around the world as his career advances.

Korean born Australian soprano Hyeseoung Kwon wins the audience’s hearts as she imbues slave girl Liù with vulnerable fragility. Singing with delicate beauty, Kwon shows clear control of pianissimo phrases, colouring her tone with Liù’s mix of passion and restraint.

It is interesting to note that the two lead characters who do not have overly painted faces are played by singers of Asian background (Lee and Kwon). This not only supports the setting of the story but also gives a strong reflection of Australian culture.

American soprano Lise Lindstrom sings the icy princess Turandot with majestic power. Given the fairly static direction for the implacably regal Turandot, Lindstrom draws on the full range of her vocal expression to convey the character. The piercing intensity of Lindstrom’s voice rings out easily over the combined volume of the full company. The final duet scene, written by Franco Alfano after the untimely demise of Puccini, is all the stronger for the combined might of Lindstrom and Lee.

The strength of Opera Australia’s talent pool is exemplified by the number of singers who were also seen in La Traviata on the previous night. Multi-talented tenor John Longmuir’s dulcet tones ring out in the role of Pong, a merry twinkle in his eye seen clearly despite the heavily made up face. Baritone Luke Gabbedy sings with clarity and authority as Grand Chancellor Ping. Gennadi Dubinsky glides on stage as A Mandarin and Jin Tea Kim is the ill-fated Prince of Persia.

Tenor Graeme Macfarlane draws on significant experience to nimbly handle the multifarious movements of Pang. Bass Jud Arthur, as fine and adaptable an actor as he is a singer, gives a compassionate, portrayal of exiled king Timur, father of Calaf.

Benjamin Rasheed provides a rare moment of levity, giving the Emperor of China a mousy voice that in no way matches his mighty beehive-like costume/throne.

Much as it would be nice to just take for granted that opera always represents the pinnacle of integration of creative arts, this is one instance in which this is definitely the case.

Turandot plays selected dates at Joan Sutherland Theatre,

Photos: Branco Gaica

Acclaimed singing actor Simon Gleeson shares an eclectic mix of heartfelt ballads in his debut album Elements. Music theatre audiences who have heard Gleeson’s extraordinary voice live in the theatre will welcome the chance to listen and re-listen to him sing on this recording.

A storyteller of the highest calibre, Gleeson’s intelligence shines through in the detailed expression heard in these songs. To some extent, Gleeson’s voice defies classification; he soars effortlessly to the high notes of a tenor yet also has the commanding depth of a baritone in his middle and lower range. He can effortlessly switch from a falsetto-like whisper to an authoritative use of volume as befits the phrase. Crisp diction ensures that the text of each song is heard with sterling clarity.

Unlike similar recordings where the sound has been somewhat filtered or softened, Gleeson’s voice has a forward presence in the tracks. This means that breath is often heard between phrases, adding to the intimate sensation of hearing him sing live.

Accompaniment is largely grand piano, with additional strings and guitar fleshing out some of the arrangements. Gleeson’s voice is so compelling, however, that the accompaniment tends to go subtly unnoticed.

An artist of the highest integrity, Gleeson has cast aside the idea of a crowd-pleasing album of standard music theatre hits to assemble a track list that is linked more by emotional content than genre. The carefully selected songs illuminate the feelings of a husband and lover, father and protector.

While Gleeson has performed in a varied list of musicals across Melbourne, Sydney and London, only two tracks on Elements  are from roles he has played on stage. Foremost is “Bring Him Home,” the prayer he currently sings eight times a week in Les Misérables. Gleeson’s moving portrayal of the role of Jean Valjean has brought acclaim across the country, and has earned him a 2015 Helpmann Award nomination.

In 2012, Melbourne audiences swooned at the adult romance of Anatoly and Florence as played by Gleeson and Silvie Paladino in The Production Company’s staging of Chess. From Chess, Gleeson sings the stirring act one finale, “Anthem.”

Elements begins with the startling pure beauty of “A Bit Of Earth,” from 1991 Broadway musical The Secret Garden. The parental concern expressed in this song is amplified in later track “Stay With Me,” from Stephen Sondheim’s Into the Woods. A second Sondheim selection is “Being Alive,” the finale of Company that sees Robert realise it is better to risk love than stay single.

This kind of mournful longing is also heard in Wendy Matthews’ “The Day You Went Away” and Matt Alber’s “End of the World.” Continuing this theme, Gleeson is joined by his beloved wife Natalie O’Donnell for a duet arrangement of “Sorry Seems To Be The Hardest Word.” Rather than sing a schmaltzy song about how much in love they are, Gleeson and O’Donnell invert their relationship with Elton John’s tender ballad about a couple who find love and communication to be challenging.

A particularly effective arrangement on the album is the seamless pairing of The Beatles’ “Something” and Billy Joel’s “She’s Got A Way” in an integrated medley that shifts back and forth between the two original songs.

Finally, to give an example of Gleeson’s impeccable diction, I am not embarrassed to share a revelation I received in a song I have heard countless times. On first listen to his rendition of “If I Loved You,” from Rodgers and Hammerstein’s classic 1945 musical Carousel, I finally heard and understood the word “land”*:

The tide’s creepin’ up on the beach like a thief,

Afraid to be caught stealing the land!

Fans who have enjoyed Gleeson on stage will surely cherish Elements.

Elements is released 10 July 2015.

Elements can be purchased from the official Simon Gleeson website and from iTunes.

Photos: #2, #3, #4, #7 Simon Parris; #5, #6 Jeff Busby

*I used to think the word was “lamb.” Oh the shame.

In a stunning return to top form, The Production Company gives Broadway’s jewel in the crown the polish and respect it deserves with sensational results.

Created by four titans of Broadway, West Side Story changed the face of music theatre when it opened it 1957. The classical influences of Leonard Bernstein’s score, the ingeniously updated Shakespearean plot of Arthur Laurents’ book, the fresh ingenuity of Stephen Sondheim’s first Broadway lyrics and the dazzling excitement of Jerome Robbins’ direction and choreography combined for a groundbreaking musical that was even greater than the not-inconsiderable sum of its parts.

In presenting this terrific choice for their fiftieth show, The Production Company has not only waited until they well and truly have the resources to do it justice, but have also benefited immeasurably from the massive increase in performance training in Australia across the seventeen years the company has been in existence. Mounting such a fully realised production in three weeks is a miracle borne of the passionate dedication of young theatre artists and the expert training they are able to receive.

Director Gale Edwards is back to the excellent results achieved in Chess and Gypsy, leading with a decisive hand to present compelling storytelling telling that is as clear as it is affecting. Thankfully, Laurents’ seminal book is presented intact, the juvenile hooliganism, pointless street violence and thwarted dreams still disturbingly relevant today.

The spectacular large-scale set by Shaun Gurton uses towering wire fences to represent oppressive constriction that leads the young characters to rebel. Clever use of scaffolding portrays the famous balcony scene, and washing lines fly in to add to the feeling of tenement housing. Additional scenes, such as Doc’s and the Bridal shop, are efficiently created downstage with a few simple props.

While Edwards makes confidence use of the height and breadth of the stage, the impact of the action, particularly the book scenes, is unduly diminished by the cavernous auditorium of the State Theatre.

Musical director Guy Simpson leads a sensational performance of Bernstein’s exhilarating score, presiding with unfailing flair and expertise over a full complement of 31 superb musicians from Orchestra Victoria. Required to play a range of musical styles, from big band jazz to Latin to classical to Broadway and more, the musicians prove themselves terrifically capable. The sound design of System Sound is reliably meticulous.

A towering achievement here is the dazzling, electrifying and immensely satisfying quality of the dancing. Emerging choreographer Michael Ralph has expertly recreated, taught and drilled Robbins’ original choreography to thrilling effect. The cast performs the choreography with a confidence that completely defies the tight rehearsal period. Combined with equally strong vocal and acting talents of the cast, numbers such as “Prologue,” “Cool” and “The Dance at the Gym” really fly. The only casualty to the restricted rehearsal time is the loss of part of the “Somewhere Ballet,” and yet by staging just the dreamily serene section of the ballet, Ralph, Simpson and Edwards have made it more of an oasis amidst the carnage, celebrating Tony and Maria’s peaceful vision without the need to telegraph the further bloodshed to come.

Adding significantly to the quality of the staging is the lighting design of Trudy Dalgleish. The mood of each scene is enhanced by clever colour choices, right down to the colour of the twinkling star cloth. Dalgleish uses the hanging washing as a canvas for colour, and even lights the onstage orchestra atmospherically.

The one weak link in the production is the costume design of Tim Chappel. While Chappell has provided a good number of appropriate, attractive costumes, the Rocky Horror meets Romper Stomper look for the Jet Girls is completely out of place with the authentic setting for the staging. Having Tony in a singlet undermines his usually clean-cut look in showing that he is trying his best to move on from the gang. The use of blue and red to delineate the Jets and Sharks is slightly blurred, creating confusion in company numbers.

The true quality of the production comes not just from the terrific dancing but also by the fact that this is balanced by the heavenly performances of Anna O’Byrne and Gareth Keegan as Maria and Tony.

Returning to her hometown from her burgeoning career on London’s West End, O’Byrne is nothing short of divine as Maria. The role showcases O’Byrne’s angelic soprano perfectly, also drawing on her dramatic and comic skills as an actress. O’Byrne conveys the wonder and guileless naivety of a teenage girl, breaking hearts all the more when this trusting innocence is so brutally destroyed.

Keegan’s fine tenor soars effortlessly through Tony’s songs. The fact that a Broadway import was needed for this role twenty years ago is now unthinkable. Keegan’s acting is not quite on the powerhouse level of O’Byrne’s, but the pair enjoys pleasing chemistry, and their duets are beautifully blended.

Quality casting continues right through the company. Magnetic performer Adam Fiorentino gives Bernardo the unshakeable self-assurance and confident strut of a young man who believes in his immortality. Sean Mulligan conveys the charismatic leadership of Riff, while keeping the character’s youthful inexperience bubbling just below the surface. Fiorentino and Mulligan make such an impact in act one that their presence in act two is noticeably missed.

The triple threat nature of Anita was clearly shown on opening night when it took three actresses to play the role. Unfortunately suffering from laryngitis, Deone Zanotto acted and danced (sensationally) on stage, while assistant director Natalie Gilhome provided the dialogue and Amanda Harrison provided the singing. Incredibly, this arrangement worked seamlessly, a testament to the skills of all three women.

The four adult characters clearly portray the gaping generation gap. Neil Melville captures the driven bitterness of Schrank. Tony Rickards conveys the broken despair of Doc. Dean Vince neatly underplays the awkwardly futility of Krupke. Glaston Toft provides welcome levity as square do-gooder Gladhand

In a well-judged performance, Jared Bryan displays the simmering pent up rage of Action, and shines in heaven-sent act two tension-breaker “Gee, Officer Krupke.” Rob Tripolino delivers another sensitive, carefully thought out characterisation as Chino.

Sage Douglas is electric as aggressive tomboy Anybody’s, landing the economically-written character arc with deft precision. Bianca Baykara is a delight as Rosalia, delivering wide-eyed comedy in “America” and lovely singing in “Somewhere.”

The full company give their all, but to name just a couple of standouts, Alex Given has presence and energy to spare as A-Rab, Franky Drousioti is endearingly innocent as Baby John, and Blake Appelqvist, a particularly strong triple threat, shows himself as performer to watch as Diesel.

West Side Story will thrill long time fans and blow the minds of newcomers.

West Side Story plays at State Theatre, Arts Centre Melbourne until Sunday 19 July 2015

Photos: Jeff Busby

Sterling musicianship, high production values and a quirky, highly talented cast bring out the compelling lustre in Stephen Sondheim and Hugh Wheeler’s “dark operetta” Sweeney Todd.

Sweeney Todd proves an excellent choice for the third installment of Victorian Opera’s Sondheim Trilogy. The quasi-operatic style and form suit the company, which again proves far more adept at casting its regular artists than Opera Australia has with its recent musicals. A partnership with New Zealand Opera allows a higher budget for Sweeney Todd, which is put to excellent use in this handsome, expertly realised production.

The staging of this intricate work benefits from being housed in the relatively intimate space of the Playhouse Theatre. At stage level and higher, the action is mostly played downstage, facilitating a close bond between audience and performers.

Director Stuart Maunder has clearly mined the text for full meaning and impact. Every word lands with crisp clarity, not just vocally but contextually. Maunder creates a slightly heightened sense of each character while still maintaining as naturalistic an atmosphere as the bizarre menagerie of characters will allow. Storytelling is crystal clear, and while there is plenty of welcome humour to relieve the tension, the overall lack of melodrama allows the climactic twists to be keenly felt.

Masterfully thorough preparation by musical director Phoebe Briggs results in a highly polished performance of the fiendishly challenging score. The twelve musicians from Orchestra Victoria must be of the highest calibre as the music has the richness of a larger orchestra. Percussive colour is expertly brought out by Conrad Nilsson, enhancing the music and onstage drama alike.

Briggs and Maunder are well served by twelve supremely talented ensemble members. Each performer delivers fascinating character work and sings the score with impeccable accuracy. Harmonies are precise, with act two piece “The Letter” being a particularly haunting highlight for the five singers involved.

While a couple of cues were missed on opening night, Jim Atkins’ sound design is clear and well balanced.

Designer Roger Kirk fills the height, width and depth of the stage almost to overflowing with a sturdily constructed depiction of industrial Victorian London. Wooden stairs and walkways represent docks, balconies and bridges, with central settings entering through two massive rear dock doors. Flexible use is made of the large revolving unit that houses Mrs Lovett’s notorious establishment. The audience is thrilled by the mechanism of Sweeney’s gleaming barber’s chair.

Kirk’s costumes are impressively individual for the full company. An example of the high production values comes in the elaborate masks for the brief flashback to Judge Turpin’s ball. Pirelli’s faux-regal garb is amusingly gauche, Toby’s colourful stripes are endearingly boyish and Johanna’s pale pink dress is sweetly angelic. The onstage costume change of the ensemble from townsfolk to asylum inmates is a clever touch. One odd choice is that Mrs Lovett’s flashier red and black ruffled gown, afforded when business is booming, is too similar to her plainer red and black ruffled gown. Also, hair, make up and attire make the Beggar Woman look distractingly like Grizabella*.

Beginning with the slow build of the Prelude, Philip Lethlean’s lighting design adds layers of atmosphere and tension, deliberately only allowing the eye to see the intended focus. Kirk’s design and Maunder’s fluid direction are both enhanced by the lighting.

Creative input aside, a production of Sweeney Todd largely stands or falls based on its lead performer. Teddy Tahu Rhodes has the authoritative vocal darkness and solemn introspection well covered, but his overall performance is undone by shortfalls in has acting ability. Foremost in this regard is Rhodes’ inability to shake his New Zealand accent for the dialogue. His performance reaches a peak around the end of act one, with a powerful rendition of “Epiphany” followed by a suitably straight foil to Mrs Lovett in choice comic duet “A Little Priest.” His singing and acting in murderous act two sequence “Johanna” are pleasing. Of particular disappointment, however, is Rhodes’ underwhelming delivery of Todd’s reaction to the ultimate tragedy of his actions, which undermines the power of the climax.

Accomplished soprano Antoinette Halloran is an utter delight as Mrs Lovett, wickedly gaining our affection while the character commits all manner of fiendish deeds. Although looking perhaps just a tad too clean and pretty, Halloran’s performance is faultless, clearly conveying the desperate but ingenious machinations of the wily survivor, a woman so gruesomely vain that she checks her reflection in a butcher’s knife.

Handsome tenor Blake Bowden is quality casting as Anthony, singing the role beautifully and capturing the wide-eyed innocence of the unsullied young man. New Zealand-born Amelia Berry imbues the fair Johanna with a lovely soprano. In a well-considered acting choice, Berry plays Johanna as manically unbalanced herself while unfairly imprisoned in the asylum.

Versatile performer Ross Hannaford conveys the bubbling energy and endearing pathos of stray waif Tobias. Appearing as little more than a teenager, Hannaford sings the role with flair and gusto, maintaining an endearing vulnerability in the character despite the underlying confidence of his performing skills.

Chameleon-like performer Kanen Breen creates another highly memorable characterisation as slimy Beadle Bamford. His parlour songs are quite hilarious and the flick of his long hair as he sets off for a shave, not knowing it is to be his last, is a hoot.

While Phillip Rhodes is a touch too young and handsome for the insidious Judge Turpin, he nonetheless portrays the unconscionably vile man with flair. Based on the overall tone of the production, Judge Turpin’s self-flagellation reprise of “Johanna” (occasionally reinstated after being cut from the original production) is wisely omitted. Hopefully a future appearance will allow more of Rhodes’ fine baritone to be heard.

Excellent mezzo-soprano Dimity Shepherd immerses herself in the role of the wretched Beggar Woman, unrecognisable beneath the rags and greying wig. Shepherd’s presence and reactions throughout the tale reward viewers who know the full story.

David Rogers-Smith channels his former starring role as The Phantom of the Opera’s Piangi as vainglorious barber Adolfo Pirelli. In an example of the clarity achieved by the direction and the intimacy of the performance space, the exposure of Pirelli’s true colours comes across brilliantly.

Sondheim fanatics and music theatre lovers in general will appreciate the loving care that has gone into this production. Reservations about Rhodes’ acting are largely compensated by the strength of his singing and the overall quality of the full cast.

Sweeney Todd plays at Playhouse, Arts Centre Melbourne until 25 July 2015.

The Sweeney Todd program can be read online.

Man in Chair reviewed the two previous entries in Victorian Opera’s Sondheim Trilogy:

Alexander Lewis and Christina O’Neill in Sunday In The Park With George

Queenie van de Zandt and Christina O’Neill in Into The Woods

*at least this means that after meeting her grisly fate, one could take solace that the dear Beggar Woman was going up, up, up to the Heavyside Layer

Photos: Jeff Busby

A top cast and solid production values elevate independent production Blood Brothers.

The West End’s third longest running musical, Blood Brothers is a dramatically charged potboiler with a poetic book and lyrics by Willy Russell (Shirley Valentine, Educating Rita). Russell’s simple music is highly hummable and well matched to the lively working class characters.

With too many mouths to feed already, fertile young wife Mrs Johnstone falls prey to her wealthy employer Mrs Lyons, who wishes to adopt one of the forthcoming twins. Early exposition strains belief, even for a musical, but the concept must be quickly absorbed for the remaining drama to play out effectively. Playing on Mrs Johnstone’s superstitious nature, Mrs Lyons threatens that twins separated at birth will both die if reunited. No spoiler alerts needed here as the tragic ending is stated in the opening lines of the musical.

In an effort to maintain dramatic tension, Russell has the spooky narrator utter ominous premonitions and indictments all the way through the show. Even with the impeccable delivery of Michael Cormick, this device becomes heavy handed, particularly when the central story is compelling enough in its own right. Cormick brings a sinister whisper to the Narrator’s portentous lines, nicely balancing this with a knowing wink in the Narrator’s multiple cameo roles.

The story follows Mickey and Edward from birth through to their early 20s, with a significant portion set in their childhood. Director Andrew Pole keeps energy infectiously high for the playground scenes, but wisely keeps dramatic scenes restrained and naturalistic, avoiding the potential for clunky melodrama as the story twists and turns.

The show really takes flight in act two, when the youths move through adolescence to early adulthood and the love triangle between Mickey, Edward and lifelong friend Linda plays out. The writing is grounded and involving here, and the three central performers are outstanding.

Bobby Fox demonstrates his dramatic range as plucky battler Mickey, clearly conveying the character’s simmering battle between optimism and despair. Fox lands plenty of welcome laughs, and his delivery of “I wish I was our Sammy” is a highlight of act one. His portrayal of Mickey’s crippling depression is also sensitively handled.

In a welcome return to the music theatre stage, Josh Piterman gives a nuanced performance as Edward, cleverly balancing the character’s sheltered, wealthy upbringing with the laddish tendencies that lie genetically beneath the surface. Piterman’s gorgeous tenor is heard all too briefly in Edward’s act two ballad “I’m Not saying A Word.” Piterman’s unbridled portrayal of Edward’s effervescent naïveté brings many delightful moments.

In a charming, beautifully understated performance, Christy Sullivan is sweetly endearing as Linda, charting the young woman’s development (which, naturally, is out of step with the boys) with deft precision.

As the central character of Mrs Johnstone, Helen Dallimore also displays a carefully considered understated style, lightly etching the poor woman’s woes on her face and body rather than overplaying the traumatic developments. Dallimore seemed to be not quite in full voice on opening night, but her singing was nonetheless sweetly expressive, with many songs tugging at the heartstrings.

Bronwyn Mulcahy plays the demented Mrs Lyons straight, strengthening the believability of the role. Jamie Kristian is wonderfully sleazy and grotty as no-good older brother Sammy. Talented actor Matt Edwards flips between cheery and gruff in a range of supporting roles. Erin James plays an incredible number of roles, including dear Donna Marie, expertly creating looks and expression to distinguish each role in a unique way.

Kellie Dickerson’s music direction is reliably pristine. The four musicians, including Dickerson on keyboards, create the light rock sound of the 1980s score. Set and costume design by Anna Gardiner is sturdy and flexible to suit the many situations and time periods. Christopher Page’s lighting is noteworthy in that does not draw attention to the lights, just to the action.

As a music theatre piece, Blood Brothers is a product of its time and will not necessarily be to the taste of all current music theatre fans. This production and cast certainly bring out the best in the show. It is not often that such a strong cast can be enjoyed at reasonable prices in such in such an intimate theatre.

Blood Brothers plays at Alex Theatre, St Kilda until 2 August 2015.

Man in Chair reviewed the 2015 Sydney season of Blood Brothers.

Photos: Jeff Busby

The Production Company ventures where commercial producers, and even subsidised companies lately, dare not tread to bring us the first mainstage Australian premiere of a Broadway musical this year. The move pays off handsomely, with a joyous evening of glorious music and comic delight. 

Such is the popularity of those evergreen Gershwin brothers, this “new” 2012 musical is not even the newest Broadway show to feature their delectable tunes (that honour would go to 2015 smash hit An American in Paris).

Loosely based on 1926 musical Oh, Kay, book writer Joe DiPietro updates the writing, but not the setting, of Guy Bolton and P. G. Wodehouse, assembling some twenty Gershwin treasures into this sassy, featherlight confection. Despite being set at the height of Prohibition, comments about stupid politicians and their stupid decisions seem all the more timely here and now.

A new musical has a massive advantage, of course, when its songs are not only recognisable but are amongst some of the greatest written for the stage. In a kind of pre-jukebox jukebox musical, the jaunty title song is joined by the whimsical “Let’s Call The Whole Thing Off,” the infectious “’S Wonderful” and the sweetly melancholic “Someone To Watch Over Me.” “Fascinating Rhythm” provides some of the show’s best dance music for the act one finale. A mashup of “By Strauss” and “Sweet and Lowdown” contrasts the world of the duchess and the bootlegger with competing time signatures. The shows draws toward its end with poignant 11 o’clock number “Will You Remember Me?.”

All of this wonderful music is played in roaring ‘20s style by seventeen terrific musicians from Orchestra Victoria. In his exacting, inimitable style, music director John Foreman brings extra zip, zest and zing to the splendid score.

There may be one subplot too many, but director Roger Hodgman keeps the zany action frothing along so that the lengthy running time is barely noticeable. The comic crescendos of each act land with well-orchestrated timing, generating many belly laughs along the way. As with his similarly strong recent work on Opera Australia’s Don Pasquale, Hodgman underpins the comedy with the humanity of the characters, grounding and balancing the work with a degree of reality.

Dana Jolly’s sprightly, well-drilled choreography greatly enhances the effervescent tone of the show. It certainly helps that Jolly is blessed with a leading man whose dancing skills are vastly superior to Broadway star Matthew Broderick. Ensemble numbers such as “Fascinating Rhythm” and orchestral act two opener “Lady Be Good” break out with infectious energy, using the full width of the State Theatre stage.

Costume designer Isaac Lummis has really hit his strides with Nice Work If You Can Get It, designing with confidence, vision, flair and wit. Highlights include, but are certainly not limited to, the scanty chorine outfits for the opening speakeasy scene, the chorus girls’ gorgeous blue and white outfits and Mother’s shimmering black and silver getup beneath her luxurious white fur.

Set designer Christina Smith houses the orchestra on a dramatic incline, creating scenes downstage with ingenious use of three neatly matched, darkly decadent doors. The bathtub scene and swinging chandelier effect of the original are staged with aplomb. Rear projections help to suggest locations, and, in a classy touch, are artistically matched to the program and marketing materials.

Lighting designer Trent Suidgeest seems somewhat hampered by working around the rear projections. The floor of the stage is often bathed in vivid colour, but spotlights are used poorly, cutting off dancers at the knees.

While each has a substantial resume of work in their own right, the three stars of Nice Work If You Can Get It each owe a degree of gratitude to The Production Company for exposure and opportunities over the years. This investment in talent by the company pays rich dividends here, with three truly wonderful, individual and memorable performances.

Delivering suave, smooth vocals, Rohan Browne has never sounded better. As likeable playboy Jimmy Winter, Browne’s nifty dancing skills are well employed. Rarely offstage, Browne plays the large role with unflagging energy.

A leading lady who is a bit of a tomboy may seem an odd choice for a Broadway musical, but in the hands of singing actress Esther Hannaford, bootlegger Billie Bendix is an adorably plucky charmer. The role gives Hannaford the chance to display hilarious physical comedy skills. She balances this with heartfelt beauty in the ballads, breathing life into the songs to make them sound like they were written specifically for this show.

Christie Whelan Browne is an utter delight as daffy Eileen Evergreen, a woman so vain it barely even registers with her that she is part of a love triangle. Whelan Browne scores many a wicked laugh portraying Eileen’s “talent” as the world’s finest interpreter of modern dance. The role also gives Whelan Browne the chance to display a sparkling soprano. Joined by a bevy of bathing beauties, act one’s “Delishious” is a true standout.

The term “surprisingly good” is a thinly veiled backhanded compliment, but, in all seriousness, it seems all too apt in describing George Kapiniaris’ performance as Cookie McGee. We all knew he was funny, but who knew Kapiniaris had such deft musical comedy skills? Hodgman obviously knew (having directed Kapiniaris in Chitty Chitty Bang Bang), and his insight is our gain. Kapiniaris underplays the comedy perfectly, and sings and dances with the best of them.

Gina Riley is in strong form as the withering Duchess Estonia Dulworth. Channeling Carol Channing byway of Auntie Mame, Nicki Wendt steals the final minutes of the show when Jimmy’s mother, Millicent, finally appears.

Nice Work If You Can Get It plays at State Theatre, Arts Centre Melbourne until 23 August 2015.

Man in Chair reviewed Matthew Broderick and Kelli O’Hara in Nice Work If You Can Get It on Broadway.

A quick footnote to The Production Company: if your audiences follow you to the Australian premiere of Nice Work If You Can Get It, there is an abundance of recent Broadway shows just waiting to be enjoyed in Australia. From similar shows like Bullets Over Broadway and A Gentleman’s Guide to Love and Murder, to Cinderella, Honeymoon in Vegas, It Shoulda Been You (for the Playhouse), Newsies and even Something Rotten and Finding Neverland if no one else grabs them.

Photos: Chris Parker

Music theatre lovers rejoice! The sea of revivals has parted to deliver a bona fide world hit, and the Australian production is a dream come true.

Wickedly subversive, endlessly inventive and as funny as it is moving, Matilda is sheer joy for adults and children, boys and girls alike. Dennis Kelly’s book deftly sidesteps the inherent risk of saccharine sentimentality in children’s stories with elements of horror and fantasy on par with the qualities have ensured ongoing affection for films such as The Wizard of Oz and Willy Wonka and the Chocolate Factory.

Speaking of the ‘Wizard’ of Oz, Tim Minchin’s music and lyrics would be cause for celebration in the most experienced of composers; from a music theatre newcomer they are nothing short of extraordinary.

Brimming with mischievous wit, the clever lyrics are set to hummable, instantly accessible music. Minchin delivers rousing anthems, such as the addictive “Revolting Children” and poignant ballads, such as the tender “This Little Girl.” The opening song/sequence “Miracle” hurtles through early exposition and may have parents squirming in their seats as they recognise themselves in the dreadfully biased parents on stage. Minchin’ s canniest gift here may be his inversion of the charm song, giving each of the Wormwood parents a grotesquely un-charming character number. Mrs Wormwood lectures Miss Honey that you have to be “Loud” and Mr Wormwood shares that all he knows he learnt from “Telly.”

Kelly and Minchin avoid another all too common trap by treating the audience’s intelligence with respect. Enhancing Roald Dahl’s magical tale, Kelly has added a mystical thread in Matilda’s storytelling. No spoilers here, except to say that careful listening will be well rewarded.

Just as we witness the birth of Elphaba in the opening sequence of Wicked, so we see Mrs Wormwood, worried she may have wind, go to hospital and give birth to Matilda. While the horror of Elphaba is her cabbage-green skin, Matilda terrifies her parents with her love of books and disinterest in television.

Sent to Crunchem Hall with a batch of little Miracles, Matilda spellbinds the librarian with her imaginative storytelling, earns the affection of dear Miss Honey and leads the revolution against the hideously tyrannical Miss Trunchbull.

A terrifying literary creation if there ever was one, The Trunchbull derives a level of gleeful malevolence in following rules and doling out punishments not seen since the original Joan Ferguson.

Director Matthew Warchus displays his penchant for magical stagecraft whilst also grounding the larger than life characters with just the right amount of truth and humanity. Storytelling is crystal clear, despite the deceptively large abundance of details to take in on first viewing, and diction is clear and precise.

Rob Howell’s ingenious abstract design houses specific scenes with a minimum of props against towering walls of scattered play tiles. If your gaze wanders for a moment, there are all sorts of words and symbols to find spelled out in the seemingly chaotic design. With a scope that fits the mighty Sydney Lyric space perfectly, the scale of production is grander here than in London’s Cambridge Theatre or Broadway’s Shubert Theatre.

Howell’s costumes are a cavalcade of colour and cheeky details, from the hefty bosom of Miss Trunchbull (looking just like Quentin Blake’s illustrations) to Mrs Wormwood’s garish mix of hot pink and electric blue. Nifty touches include The Escapologist’s top hat of chains and locks and Mrs Phelps’ layers of colourful beads.

A segment that highlights the level of collaboration in the creative team is the use of the alphabet in “School Song.” Cast members perform Peter Darling’s choreography as they climb Howell’s school gate singing Minchin’s alphabetised lyrics as they place lettered tiles into the set pinpointed by Hugh Vanstone’s lighting.

Much as Oliver! and Annie are seen as musicals full of child actors, the material for children in those shows can only be described as token compared to the riot of singing and dancing by the young cast of Matilda. Darling’s demanding, energetic choreography is a thrill to behold, and the children sing with hearty gusto.

On opening night, Matilda was played by Bella Thomas, a young actress who is winsomely mature beyond her years. A tirelessly strong singer and actor, Thomas’ expressive face changes from resolute to vulnerable in a heartbeat, easily winning her the heart of every audience member.

Upstaged by the sensational child actors, and surely not begrudgingly so, the adult actors are splendidly cast and give high-octane performances.

James Millar is a sheer delight as the deliciously hideous Miss Trunchbull, wickedly whispering her insidious threats and demands with a subtle but infectious twinkle in his eye. Delivering act two’s showstopper to end all showstoppers, “The Smell of Rebellion,” Millar channels a bit of Merman mixed with his own inimitable style.

Elise McCann is a wonderfully endearing Miss Honey, giving the character just enough plucky resolve beneath her timid exterior. Blessed with a warm middle register as well as sweet high notes, McCann’s singing is a pleasure to hear.

Marika Aubrey is electric as the deeply shallow Mrs Wormwood, spitting out her lines with gleeful venom. Daniel Frediksen gives an almost vaudevillian comic performance as the decidedly stupid Mr Wormwood. Cle Morgan is warm, earthy and quirky as loving librarian Mrs Phelps.

Matilda is sure to be a white-hot ticket in the months to come. Fingers crossed that a Melbourne season will be announced shortly.

Matilda the Musical plays at Sydney Lyric Theatre, currently booking until 29 November 2015.

Man in Chair also reviewed Matilda the Musical on the West End and Matilda the Musical on Broadway.

Photos: James Morgan

The Australian Ballet traverses from the twentieth to twenty-first century in this scintillating freestyle triple bill that anchors a company premiere and a world premiere with a treasured classic.

If 20:21 is a barometer of the company’s current state of health, it passes with flying colours. Dancers of all ranks perform side by side to create a thrilling whole that is greater than any solos or pas de deux. The group is the star, and yet individual personalities shine through as the dancers beam with the sheer enjoyment of dancing together.

Dance in its purest state is celebrated in the program. In an homage to the impact, grace and beauty of choreography, each piece is unencumbered by narrative, scenic design and decorative costumes.

The evening begins with the Australian Ballet debut of George Balanchine’s 1972 ballet Symphony in Three Movements.

Balanchine’s choreography provides a rhythmic pulse to the light, gently abstract music of Stravinsky. The ballet may be free of narrative and yet the movement is highly purposeful, with precise, varied, repeated movement creating a bustling mechanical picture.

The requirement of a large company provides the opportunity for some 32 company members to work together on almost equal footing. Partner work is significant and also unusual, in that it largely involves male and female dancers side by side rather than touching, creating an air of camaraderie.

Ronald Bates’ lighting, reproduced by Graham Silver, backs the dancers with an azure blue sky, creating a sunny, optimistic vibe. The carefree tone is enhanced by simple, streamlined leotards, and the female dancers’ long ponytails fly freely. Featured female dancers complete the bright, upbeat stage picture in shades of gelato pinks.

Resident choreographer Tim Harbour’s new work Filigree and Shadow makes its world premiere in 20:21. An edgy, sexually charged piece, Filigree and Shadow is clearly placed in the realm of modern dance and yet draws on a distinctly classical balletic vocabulary of movement.

Dressed in masculine steely grey singlets and sheer black stockings, there is an androgynous look to the dozen dancers in the piece. The sheer white curved wall of Kelvin Ho’s scenic design picks up the highly dramatic effects of Benjamin Cisterne’s lighting. Beginning from an inky blackout, and at one point bathing the stage in a golden glow, the lighting is a significant and affecting aspect of the design.

The prerecorded music, commissioned from Munich-based electronic musicians 48nord (Ulrich Müller and Siegfried Rössert), achieves an electric crackle and pop that could not have been achieved by orchestral musicians.

Highlights include a sensational male trio from Brett Chynoweth, Simon Plant and Marcus Morelli (whose manbun distinctly places the performance in 2015). The trio features particularly enthralling work from Chynoweth. Rudy Hawkes, who makes the herculean effort of appearing in all three works in the program, emerges as a leader in Filigree and Shadow.

Working in various combinations, the dancers genuinely engage with each other as they performer Harbour’s highly physicalised choreography. The music and dance build to a frenzied climax that leaves nowhere for the dancers to go except to collapse, fully spent, on the floor.

The final treat in this carefully curated program is revered American choreographer Twyla Tharp’s modern classic In the Upper Room.

The success of this piece is inseparable from Phillip Glass’ driving, pulsing score, which blends and layers sweet-sounding acoustic and electronic instruments with ever increasing urgency and excitement.

Black and white striped pajamas give way to bright red dancewear and then to bare glistening skin as the extraordinarily demanding piece progresses.

Tharp’s choreography is distinguished by a dazzling array of styles, deliberately blurring the lines of what is usually seen on the ballet stage. As well as intense and precise requirements, there are plenty of gentler moments that convey a delightfully jaunty air.

The work is performed in a thick blanket of misty haze. On opening night, the magical disappearances and appearances through rear black panels seemed a little hesitant, but will surely improve as the performers’ spatial awareness in the darkness improves with further confidence.

Another spectacular male trio graces In The Upper Room as Rudy Hawkes, Andrew Killian and Jarryd Madden rock Tharp’s lively, fleet footed moves. As with the entire evening, it is difficult to single out many highlights due to the wonderfully integrated nature of the company work on display.

The return of In The Upper Room earned roars of approval and an all too rare standing ovation on opening night.

20:21 plays at State Theatre, Arts Centre Melbourne until 5 September 2015 before playing in Sydney 5 November to 21 November 2015.

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

Madeleine Eastoe and Kevin Jackson in Cinderella: “…performing the final pas de deux as a dreamlike fantasia of joyous love.”

Lana Jones and Ty King-Wall in Cinderella: “In splendid form, Jones gives a superbly realised performance, making the massive role seem deceptively effortless and fully engaging the hearts of the audience.”

Madeleine Eastoe and Kevin Jackson in The Dream: “Chengwu Guo leaps about with such dynamic energy it almost looks like he is a magical effect that has been added using cinematic CGI.”

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: Jeff Busby

Melbourne Opera raises the bar yet again as a superb cast perform bel canto classic Mary Stuart in a lavish, inventive and highly attractive staging.

In a contrasting but highly complementary pair of casting coups, each of the dueling queens is played by a soprano of noteworthy attraction

It is wonderful to welcome Elena Xanthoudakis back to the Melbourne Opera stage, and to enjoy the flourishing talent that has seen her international career thrive in recent years.

Equally thrilling is the extraordinary late-career form displayed by Rosamund Illing, one of the most successful Australian sopranos of all time. While male singers seem to be given more chances to continue on stage to a grand age, the same opportunities are rarely offered to their female counterparts. The recent reversal of Emma Matthews’ Opera Australia status from Helpmann-winning star attraction to occasional supporting player was baffling in its almost overnight immediacy.

Illing’s performance as Queen Elizabeth I displays not only her well preserved voice, but also the immeasurable benefit of decades of stage experience. Whether sharing a coy smile or an icy glance, Illing conveys Elizabeth’s haughty, imperial presence with élan. Along with the many impressive facets of this production, the opportunity to see Illing in action again is a prime attraction.

In what may be the most expertly realised production staged by Melbourne Opera to date, Mary Stuart gleams with regal gloss and polish. Christina Logan-Bell’s abstract set is inspired, combining a shiny floor of Tudor roses with attractive geometric wall designs and the overall suggestion of a crown itself. In the final scene, rear stairs rise to an ominous chopping block.

Enhancing this scenic design, the company has been extremely fortunate to secure the use of a stunning set of costumes, designed by Jennie Tate and owned by Opera Australia. The chorus progress from festive emerald greens and purples to dark cloaks and hoods from the dramatic final scene. The lead men sport smart pantaloons, velvet vests and fetching headwear, but the most eye-popping costumes are reserved for the queens, particularly Elizabeth. Mary’s main gown is a clever mix of electric blue satin covered with fine dark black lace. For the final scene, she appears without bustle, making her look all the more vulnerable and exposed. The final onstage change to fiery red for her execution has tremendous impact.

Scenery and costumes alike benefit from the excellent lighting design of Lucy Birkinshaw.

Maestro Richard Divall returns to a score he first conducted some 40 years ago (for Victorian Opera Company). Divall coaxes the very best playing from the musicians in Melbourne Opera Orchestra.

Director Suzanne Chaundy presents a strong, clear telling of the drama, keeping the atmosphere terrifically tense. There are some challenges with spacing in the crowded opening scene, but Chaundy’s eye for detail comes to the fore in tighter scenes involving fewer players. The faceoff between the two queens is a crackling climax to act two, and act three builds with a requisite sense of impending and inescapable doom.

Xanthoudakis is in wonderful voice, performing Donizetti’s bel canto music to delightful effect. Her ornamental phrases and coloratura are supple and tender. Xanthoudakis’ performance of Mary’s final prayer, “Ah!! May Thou hear the sound of our humble prayer,” is particularly exquisite.

Xanthoudakis and Illing are supported by an extremely strong, very well cast set of singers.

Tenor Henry Choo is magnificent voice as Robert, Earl of Leicester. In fact, I would have to say that this is the best singing I have ever heard from Choo. From his first notes, the sumptuous tone of his voice seems to lovingly caress the notes, and his projection makes incredible use of the excellent acoustics at the Athenaeum Theatre. Choo and Xanthoudakis sound wonderful together, beginning with act two duet “Forsaken by everyone…my heart knows no hope.”

Eddie Muliaumaseali’i brings gravitas to the role of Lord Cecil, conveying the malevolence behind the man who encourages Elizabeth to sign Mary death order. Act three trio “Alas! For pity’s sake spare the final blow at least” is a masterful scene between Muliaumaseali’I, Choo and Illing.

In a departure from sparkling comic turns, Phillip Calcagno plays the serious role of Talbot. Calcagno displays his skill as a dramatic performer in act three as Talbot comforts Mary in “While with the light of dawn my life still sparkled.”

Mezzo-soprano Caroline Vercoe, who is as talented an actress as she is a singer, lends sensitive support as Mary’s compassionate companion Anna.

The quality of the chorus singing is easily on par with the principal singing, thanks to expert preparation from Raymond Lawrence. Their excellent work at the top of act three’s final scene continues into beautiful singing in Mary’s final prayer.

Not receiving any government subsidies, Melbourne Opera is like a gift to the city from hard working arts lovers and incredibly generous arts angels. No opera lover in Melbourne should miss Mary Stuart.

Mary Stuart plays selected dates at Athenaeum Theatre, Melbourne until 12 September 2015, with a further performance at Alexander Theatre, Monash University on 19 September 2015.

Photos: Robin Hall

In a highly artistic program of great integrity, Renée Fleming and Melbourne Symphony Orchestra present a thoughtfully curated program of musical treasures, eschewing the chocolate box greatest hit parade that is surely the temptation of every visiting opera superstar.

The evening begins with a slightly reduced orchestra playing Four Orchestral Interludes from Richard Strauss’ Intermezzo. This significant work, running around 25 minutes, displays the careful control and expert playing of the orchestra musicians. The expressive, highly detailed music features little percussion, with a lyrical sound overall.

Maestro Sir Andrew Davis exhibits meticulous leadership of the orchestra, particularly with the first three gently flowing pieces. The fourth interlude, “Happy Ending,” is a lively piece, bringing the segment to a stirring finale.

During a brief break, some 25 additional musicians join their colleagues on stage, boosting the numbers of brass and double basses in particular.

Fleming makes her first entrance in a form fitting, strapless, dark silver metallic gown. Her flowing, gold-splashed cape adds a heightened air of theatricality to her appearance. Fleming’s thick, golden blonde hair is styled to complement her warm, heart shaped face, and she projects palpable warmth and grace from the stage to the mighty Hamer Hall auditorium.

The three gorgeous songs of Ravel’s Shéhérazade are placed largely in Fleming’s middle register, facilitating her expressive, heartfelt delivery. While a concert performance may often involve virtuosic singing chosen to impress and dazzle with vocal fireworks, Fleming sings with earnest, straightforward quality, bringing the audience towards her with an unshowy, carefully considered program. Smooth, natural, unforced delivery brings out the gold and silver tones in Fleming’s truly lovely voice.

For the second half, Fleming emerges in a royal blue satin strapless gown with matching shoulder wrap, which she often clutches about herself in the delight of performing.

The second half begins with two of Canteloube’s Songs of the Auvergne. First, the brisk frisky folk song “Malurous qu’o uno fenno,” followed by “Baïlèro,” in which Fleming lovingly recreates a romantic dialogue between shepherd and shepherdess.

The second half features a small smattering of well-known opera favourites, including “The Jewel Song” from Gounod’s Faust. Portraying Marguerite’s unbridled outpouring of avaricious pleasure as she explores a treasure chest of jewels, Fleming reminds us of her consummate acting skills.

The formal program concludes with soprano chart topper from Gianni Schicchi, Puccini’s sumptuously tuneful “O mio bambino caro.”

The orchestra provides a fabulous interlude in the second half with Ponchielli’s delightfully melodic dance music for La gioconda, “Dance of the Hours.”

Before the final bracket, Fleming shares some characteristically generous words about her pleasure in returning to Melbourne and her thrill at debuting, on invitation from Sir Andrew Davis, with the Melbourne Symphony Orchestra.

In an exquisitely delicate selection, Fleming sings of the all-consuming love a teenage girl has for the title character in Mascagni’s L’amico Fritz. This is followed by Tosti’s charming song “Aprile,” an ideal choice for a city just on the very cusp of spring.

The first two encores are popular music theatre selections. The Gershwin’s “Summertime” from Porgy and Bess gives Fleming some of her highest notes of the evening, and she soars beautifully through these, filing the text with plaintive longing.

For a rousing finale, the crowd are invited, in fact strongly encouraged, to join Fleming in singing ever popular Lerner and Loewe standard “I Could Have Danced All Night” from My Fair Lady. The pleasure Fleming exhibits in sharing this singalong moment with the audience is another example of her inner joy and good will towards all.

Melbourne Symphony Orchestra will once again spend An Evening with Renee Fleming at Hamer Hall, Arts Centre Melbourne on Saturday 5 September 2015. That concert will be recorded for broadcast on ABC Classic FM on Sunday 6 September 2015 at 1pm.

Photo: Daniel Aulsebrook

A terrific cast, strong production values and lashings of real heart set Mother, Wife and the Complicated Life apart from similar “girls night out” revuesicals.

Completing the rarely achieved task of writing the book, music and lyrics, Amity Dry displays keen insight and strong empathy for a range of characters at differing points of motherhood. Wisely keeping the action light on book scenes and heavy on songs, Dry provides just enough text to link the four characters in a story arc, providing a connection and context for the scenarios rather than just a set of scenes and songs.

The combination of intelligent songs and excellent performers creates abundant laugh-out-loud moments as the audience recognises and appreciates the characters’ situations. Given the potentially frothy nature of such entertainment, Dry bravely includes serious emotional moments that address some rarely spoken truths behind motherhood. The risk pays off with a deeper, more involving show that provides food for thought in addition to all the laughs.

Director David Lampard keeps the action pacy and upbeat, and helps the cast provide clear characterisation for the four distinct characters they play. Lampard also provides the attractive and functional design, which includes an impressive modular rear unit that can be reconfigured to represent any number of homes and locations. Each having a signature colour, the four women have multiple costume changes as the story progresses.

Mark Simeon Ferguson provides light rock arrangements of the score, which is performed by live musicians for the tour. In the absence of a conductor, timing is extremely well synchronised. The four performers are all excellent singers, and sound particularly good together, their voices blending beautifully in the harmonies of the company songs.

Clearly a generous writer, Dry has not simply fashioned the show as a star vehicle for herself. The spotlight is shared between the four characters, who each have dilemmas that arise as the story progresses. Dry plays Kate, a new mother whose trip to Paris is derailed by an unexpected pregnancy. Dry sings the gorgeous lullaby “The Day I Was Chosen” to her newborn baby as they bond. Through comparisons to other mothers, Dry explores the truth behind the façade of the easy perfection of motherhood.

In a winningly warm performance, Nikki Aitken practically steals the show as frazzled mother of three Bec, who seems to be only staying sane thanks to her resilient sense of humour. Aitken is able to flip from broad comedy to tender pathos in a heartbeat, and can belt a big tune or sweetly sing a ballad with equal flair. Aitken scores plenty of laughs, having the audience on her side through all her character’s tribulations.

Rachel McCall is bride-to-be Jessie, who turns into quite a “Bridezilla” with her wedding planning and wedding app dependency. The only character not to have children, Jessie portrays the divide between friends who do not have firsthand understanding of the demands of parenting. McCall and Aitken sing a very funny duet contrasting the sex life of a newlywed and a mother of three.

Susan Ferguson is Lily, successful mother of slightly older children. Lily is a slightly underwritten role, resulting in a lack of impact when her marriage falls apart in act two. Ferguson nonetheless gives it her all in a perky, focused performance.

Mother, Wife and the Complicated Life plays at Chapel off Chapel, Melbourne until 13 September before continuing its national tour.

Lavish production values and wonderful dance combine for a world class, highly traditional new staging of evergreen classic The Sleeping Beauty.

Created and promoted over an extended period, the highly anticipated production has been lovingly and meticulously staged by The Australian Ballet’s Artistic Director, David McAllister. McAllister’s approach is reverentially traditional, but any lack of daring is more than made up for in sheer quality and beauty. Every dollar of the generous budget can be seen on stage, with exquisite details in abundance. Streamlined by the excision of select moments of dance, the spellbinding action keeps the audience completely entranced for the 170 minute running time (including two intervals).

Beginning with a prologue to the Prologue, McAllister’s storytelling is detailed and crystal clear. Master of Ceremonies Catalabutte dithers over sending christening invitations, and ultimately regrets striking Carabosse from the guest list. This first prologue runs a trifle long, squandering some of the grand entrance music on Catalabutte’s indecision. All subsequent music, however, is perfectly matched to its original purpose in the ballet.

Further clarity of direction is seen in the work of the lead characters. Melancholy Prince Désiré’s attachment to his book of fairytales explains not only his susceptibility to the prospect of waking a sleeping princess, but also provides the reason why his friends dress as fairytale characters at his wedding ball. Aurora is seen with a beaming countenance at her sixteenth birthday festivities, but when dancing as a vision to the Prince, her vision is downcast, deliberately engaging neither her fellow dancers nor the audience. When she awakens, it is clear that Aurora sees the Prince for the first time, and it is love at first sight for them both.

As well as ample solo and pas de deux work, McAllister has included wonderful dances for the corps de ballet, often filling the stage with gloriously festive dance. The garland dance climaxes with the garlands positioned as a merry maypole, with couples waltzing beneath the arches to the gorgeous melody of “The Garland Waltz.” Woodland Nymphs dance with delicate precision in act two. Act three brings a cavalcade of glorious dance, from full company glamour to exquisite solos and pas de deux. The divertissements for the fairytale characters are cut, except for those by beloved characters Bluebird and Princess Florine, bringing their work into even sharper focus.

As well as the interpretation and direction of McAllister, a chief attraction of this world premiere staging is the creative design of renowned designer Gabriela Tylesova.

In a miraculous foray into ballet costumes, Tylesova provides delightful tutus that fluff out beautifully when expanding horizontally as the dancers spin. Tylesova fashions wittily adapted balletic versions of traditional stage costumes for scenes such as the hunting party and the Louis XIV-themed masked ball for Aurora’s wedding. Of the featured characters, The Queen is blessed with particularly spectacular ensembles; her combination of blue gown and powdered wig for Aurora’s birthday is a highlight.

With a budget reaching beyond mere painted backdrops, Tylesova frames the action with a series of sturdily constructed baroque legs, which are abstract ivory swirls decorated with gold leaf. This setting appears at its very best in the grand ball of act three, with the addition of matching gold and ivory costumes, glistening chandeliers and a stunning painted mural in the rear.

For the prologue, the setting is enhanced, if a little crowded, with burgundy floral brocade curtains. Similarly, in act one the lush green foliage of the palace grounds is seen. The six fairies arrive at the christening from heavenly rear clouds, each projecting their personality in exquisitely detailed, rich pastel costumes and matching gossamer wigs. Costumes are carefully matched to the scenic colour palette of each act, with splashes of contrasting colours used for effect.

Jon Buswell’s lighting design largely serves to provide plenty of bright clear light, presenting the designs and the dancers at their best. A particularly attractive moment comes as the Prince ventures into the sleeping palace and the scene is bathed in a luscious purple haze of twilight.

Maestro Nicolette Fraillon leads Orchestra Victoria in a finely nuanced performance of Tchaikovsky’s most lyrical of scores. Featured use of harp is lovely aspect of the music.

As the titular Princess, Lana Jones is a pristine Aurora, her dancing especially nimble, sleek and poised. Jones captures the effervescent excitement of being sweet sixteen, making the impending loss of the Princess harder to take. Her balance in the challenging “Rose Adagio” sequence is well controlled.

Not seen until act two, Prince Désiré makes a very casual entrance as he wanders on with his fairytale book. Capping off a truly stellar year, Kevin Jackson is in excellent form, continuing to present a unique balance of sensitivity and masculinity. As talented an actor as he is a dancer, Jackson gives the Prince a clear character arc in act two, progressing from gloomy bookworm to jubilant potential lover.

Jackson and Jones share regal chemistry, and each of their pas de deux, from slow and measured to brisk and lively, are expertly performed.

Amber Scott imbues The Lilac Fairy with palpable goodness, radiating kindness and joy as she dances with seemingly effortless lightness.

The coterie of Fairies dance charmingly as a group, with each member also displaying individuality in their role: Amy Harris, Natasha Kusen, Robyn Hendricks, Benedict Bemet, Miwako Kubota.

In act three’s grand ball, Chengwu Guo and Ako Kondo provide truly thrilling dancing as Bluebird and Princess Florine. The pair may fall a whisker short of stealing the show, but they certainly stop the show with the rapturous applause they deservedly earn.

Proving herself to still be a very strong dancer, guest artist Lynette Wills conveys the haughty arrogance of the diabolical Carabosse, matching the villainess’ facial expression to that of her rodent servants.

The Sleeping Beauty plays at State Theatre, Arts Centre Melbourne until 26 September 2015, before playing in Perth 7-10 October 2015 and Sydney 27 November – 16 December 2015.

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

A wide range of company members in modern mixed bill 20:21: “If 20:21 is a barometer of the company’s current state of health, it passes with flying colours.”

Madeleine Eastoe and Kevin Jackson in Cinderella: “…performing the final pas de deux as a dreamlike fantasia of joyous love.”

Lana Jones and Ty King-Wall in Cinderella: “In splendid form, Jones gives a superbly realised performance, making the massive role seem deceptively effortless and fully engaging the hearts of the audience.”

Madeleine Eastoe and Kevin Jackson in The Dream: “Chengwu Guo leaps about with such dynamic energy it almost looks like he is a magical effect that has been added using cinematic CGI.”

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: Kate Longley, Jeff Busby

A pair of high quality performances anchors a lovingly staged boutique presentation of Andrew Lippa and Tom Greenwald’s 1995 musical John & Jen.

A contemplative reflection on family ties, John & Jen explores the long shadow of domestic violence and the redemptive power of love. Empathetic characters and easily identifiable situations, along with smatterings of gentle humour, draw the audience into the characters’ lives and allow the dramatic moments to land with hefty impact.

Six-year-old Jen is excited to have a new little brother, John. The violent nature of their father is deftly woven into the siblings’ early bonding scenes, as we see them wait for Santa and plays “school.” As the years go by, John has a “be careful what you wish for” moment when he goes from grumpily resenting attending Jen’s basketball games to being devastated when she heads off to college in New York. It’s the 1960s and the internet has not been invented, so the pair corresponds by letters, but they grow apart and an angry reunion is followed by a tragedy that means their differences can never be resolved.

Act two starts afresh, cleverly mirroring and inverting some of act one’s scenes and songs. A 1980s talk show sequence condenses the passing of time and airs inner feelings and conflicts. The act reaches another affecting climax, this time providing a bittersweet resolution that hints at an optimistic future.

Terrifically talented singers, Brenton Crosier and Jaclyn De Vincentis impress from the opening notes of the show with the gorgeous quality of their singing voices. They are both strong actors as well, and, although they do not particularly look alike, they create believable family bonds.

Director Mark Taylor neatly downplays the childhood scenes, responding to the elegant simplicity of the libretto by avoiding the manic energy often adopted when adult actors play children (such as is usually seen in Blood Brothers). A delightful moment comes when the children enact the story of George Washington using shadow puppets. Storytelling is clear and involving, fulfilling the respect the book shows towards the audience’s intelligence. Taylor’s directing style is to create authentic interactions rather than having the actors cheat front as is seen in typical music theatre. This strongly supports the sense that we are watching real people rather than fictional characters, and enhances engagement.

In creating a chamber musical for only two performers, Lippa maintains intensity by flowing songs and scenes into each other with very few breaks, even for applause. Melodies are attractively appealing, and Greenwald’s lyrics are intelligent and economical. 

In the extremely capable hands of music director Tyson Legg, Lippa’s score sounds marvelous. Although there are only three musicians, there is a wonderfully rich sound. Extensive and varied percussion, played by Dave George, is excellent.

When portraying scenes set in two different locations, Lippa often uses countermelodies, which can be enjoyed with nicely balanced volume and crisp diction thanks to the combination of Legg’s careful preparation and the singers’ skills.

De Vincentis is particularly strong when belting, and as her character ages there are ample opportunities for this. Cosier has the chance to play more than one character, and his open face clearly conveys when he switches between characters. Much as there a slightly stronger storyline and momentum in act one, the pair seems to really hit their strides in act two as mother and son (playing a difficult teenage boy, Cosier’s height is a distinct asset here).

Designer Sarah Tulloch provides an interesting scenic design with an abstract wooden construct and draped sheets, suggesting a children’s fort. Two sturdy wooden units house multiple hidden props easily accessed by the actors through handy hinged doors.

Costumes do not particularly suggest any of the eras across which the forty-year story is set. With so many period references in the text, attempting some accuracy in this regard should perhaps have been more of a priority. Still, the costumes are flexibly adaptive so as to be easily changed as the characters age.

Clearly a labour of love, this is quality music theatre, presented in an intimate setting at very affordable prices.

Pursued by Bear’s production of John & Jen plays at Chapel off Chapel, Melbourne until 27 September 2015.

Photos: Kayzar Bhathawalla