Fanny Brice may sing the song but it is Sheridan Smith who is the greatest star, leading a long overdue, sassy revival of Broadway classic Funny Girl.

Selling out a 15-week season in a matter of hours, the production announced a transfer to the West End’s Savoy Theatre before opening night. Not seen or heard on the professional stage for some 50 years, the show has the distinct advantage of a catalogue full of hits, kept alive by the 1968 movie. The new staging also benefits from an update to the book by Broadway magician Harvey Fierstein, who respectfully maintains the integrity and spirit of the original rather than parading a series of broad one-liners.

In line with the structure of a memory play about the theatre, designer Michael Pavelka fashions furniture out of various trunks and trestle tables. A rear backdrop shows a grand sweeping auditorium and footlights. Additional scenic elements appear, as the memories unfold, as hazy mirages in the antiqued mirror stage legs.

Matthew Wright’s costumes chart Fanny’s rise from floppy bloomers to plush furs, all the while maintaining her celebrated shapeless form. Wigs also aid the distinction between Fanny and the traditionally “beautiful” chorus girls by having the six ladies of the chorus appear very close to identical.

Smith gives a plucky, supremely endearing performance as Fanny, gently coaxing the audience into her palm and then not letting go for the duration. Smith’s singing style is gently quirky and characterful, sufficiently different in sound to her famous counterpart so as to avoid any comparison.

The definition of tall, dark and handsome, Darius Campbell has the sexy smoky voice to match his smouldering looks. Despite his height and vocal power, Campbell still conveys an underlying insecurity in Nick Arnstein’s pursuit of Fanny, allowing the character’s doubt to gradually rise up and strangle him.

Smith and Campbell enjoy lovelychemistry, and when they sing nifty duet “You are Woman, I am Man,” it is music theatre heaven.

Another dose of heaven, as if the entire show is not a pure dream, comes in act two charmer “Who Taught Her Everything She Knows?” Joel Montague delivers extraordinary dance steps as hoofer Eddie. Marilyn Cutts beams with down to earth humanity and theatrical class as Fanny’s devoted mother Rose Brice.

Director Michael Mayer respects the old world charm while adding more than a dash of modern flow and zip, staging filmic, even abstract, dissolves between and within scenes, and streamlining montages upon a pair of travelators.

Choreographer Lynne Page provides a witty nod to the era, allowing the dancers to perform the necessarily hokey steps with a knowing wink. The proliferation of tap steps is wonderful, and Smith does a shuffle-ball-change with the very best of them.

While the movie was edited into a bit of a one-woman show, the musical, while clearly a star vehicle, features a colourful supporting cast of Fanny’s friends and family. As performed by the talented company, the stage fairly glows with affectionate warmth

Back in Henry Street, strong support comes from Valda Aviks as Mrs Meeker and the veritable Gay Soper as Mrs Strakosh.

Richard Brooker’s sound design has a wonderfully natural sound for the modest-sized auditorium, and balance with the band of ten musicians is excellent.

Buy a ticket to Funny Girl at the Savoy while some seats still remain.

Funny Girl plays at Menier Chocolate Factory, London until 5 March 2016 before transferring to Savoy Theatre, London.

Funny Girl was reviewed at Menier Chocolate Factory, London 3.30pm Saturday 16 January 2016.

Photos: Marc Brenner

Showcasing two of the finest stage actresses, Grey Gardens finally comes to London in this impressively staged production.

Making quite a name for itself in very recent times as starting place for theatrical hits, the Southwark Playhouse has added its name to the shortlist of special venues that must be carefully watched when planning a West End theatre trip.

The unique configuration of the performing space allows an intimate arrangement with seating on three sides and no audience member further than five rows away.

The action begins with a glimpse of  Sheila Hancock as Big Edie and Jenna Russell as Little Edie in their decrepit later life. As Big Edie attempts to sing one of her cherished songs, Russell transforms before our eyes into the Big Edie of 1941. Act one’s significantly condensed version of actual events sees the women’s cultured, privileged world implode one serene summer afternoon.

After the brief prologue, the lights rise to suggest sunnier times, but the squalor of Tom Rogers’ detailed set design remains, an abstract collage of faded dreams and distant memories. Costume designer Jonathan Lipman outfits the society set of act one in gently faded shades of pale pink and blue. Lipman goes to town, of course, with Little Edie’s “revolutionary costumes” in act two, and Russell pulls these off with mind-boggling aplomb.

Director Thom Southerland colours the family drama of act one with a myriad of tiny details that allow the characters to breathe as people rather than caricatures.

Charismatic young actor Aaron Sidwell presents Joseph P. Kennedy Jr as crisply handsome fellow, with a self aware eye on avoiding scandal bubbling just below the surface. Jeremy Legat portrays lavender pianist George Gould Strong as a guarded man who has come to feel quite at home tickling Big Edie’s ivories.

Avoiding the pompous, dithering stereotype, Billy Boyle portrays J. V. “Major” Bouvier as a man sharply aware of the disappointment of a family that has not developed to his liking. As Little Edie in act one, Rachelle Ann Rayham pops pills with barely contained skittishness, expertly balancing the line between true optimism and niggling despair. Rayham’s strawberry blonde tresses are tightly pulled back, foreshadowing the hair loss that is to come. Lipman cheekily dresses her in a hood at times, in another nod to the young woman’s demented future.

The compaction of events in Doug Wright’s book for act one brings an onslaught of unstinting familial cruelty, and Southerland delivers this with painful force. Michael Korie and Scott Frankel’s charming period songs bring some relief, with lyricist Korie going all out with Big Edie’s wickedly racist repertoire of songs.

With Big Edie’s bombshell having successfully sent Little Edie’s latest fiancé Joe Kennedy Jr heading for the hills, and her own pitiful marriage finally euthanised by the unseen Mr Beale, the final moment of act one sees Hancock return as Big Edie, with Sidwell and Ako Mitchell in their act two guises of teenager Jerry and gardener Brooks Jr, son of butler Brooks Sr.

The audience’s appetite teased with the all too brief prologue, the full effect of Russell and Hancock’s tour de force performances is unleashed in act two. Those familiar with the musical will know that this act is based on the infamous 1975 documentary Grey Gardens, which chronicled the bizarre life of the fallen socialites Big and Little Edie Bouvier Beale.

Wonderful as her performance is as the self deluded, self centred, selfishly manipulative Big Edie in act one, Russell is even more delectably compelling as she channels the outlandish lunacy of the later incarnation of Little Edie. Now 32 years older, Little Edie’s hair, figure and most of her sanity are gone, along with her prospects for happiness she once held. Russell is absolutely hilarious, whilst also tenderly maintaining a palpable air of pathos as well. In Russell’s exceedingly capable hands, act two opener “The Revolutionary Costume for Today” becomes a show stopper to rival “Hello, Dolly!,” bringing down the house with a roaring ovation. After much hilarity, Russell has the poignant 11 o’clock number “Another Winter in a Summer Town,” leaving the audience moved and unsettled by the women’s plight.

Hancock continues Big Edie’s self preserving manipulation, playing her as a woman who turns on the mania when it suits her. A strikingly handsome woman, Hancock appears almost too healthy and strong as Big Edie, a woman who survives with little nutrition, sanitation or affection. Hancock uses more of a regular voice rather than the sing-song tones usually heard from Big Edie, and does not wear the horn-rimmed glasses for very long. The actress adopts a gently realistic manner for her touching scene with local youth Jerry.

Hancock is an excellent partner for Russell, a highlight coming when the pair engage in an extended shouting match that ends with a searing moment of honesty as Little Edie expresses her deep-seated fear that her father would have her committed.

With the current season sold out, watch, with fingers crossed, for news of a West End transfer.

Grey Gardens plays at Southwark Playhouse, London until 6 February 2016.

Grey Gardens was reviewed 7.30pm Saturday 16 January 2016.

Photos: #1, #3, #5 Scott Rylander; #2, #4, #6 Tristam Kenton

Gilbert Deflo’s production of Verdi favourite Rigoletto raises the piece to the grandest operatic scale. Thankfully, the singers are easily as spectacular as the soaring scenery.

Even for a matinee, the dress code for La Scala patrons are the suits and sparkles of evening wear. Being presented this well, however, doesn’t stop grown adults taking photos on their iPhones during the performance like teens at a rock concert.

To a degree, the sense of a rock concert is almost justified, given the swaggering confidence of star tenor Vittorio Grigolo. In a perfect match of role and singer, Grigolo has charisma and confidence to spare as the sexually scheming Duke of Mantua. From the moment he steps on stage, Grigolo is comfortably at home, lapping up the admiration and attention of the capacity audience like a recital soloist. Which, however, is not to say that he is not a strong actor and a great team player.

Swirling his cape like a super hero and holding court like a warrior, Grigolo effortlessly nails the light popular hits “Quest o quella” and “La donna e mobile” and also brings great sensitivity of expression to his dramatic arias “Ella mi fu rapita” and “Parmi veder le lagrime” at the start of act two.

As Rigoletto’s beloved daughter Gilda, the only word to describe the singing of American soprano Nadine Sierra is divine. With exquisite purity of tone, immaculate control, sensitive phrasing and stunning high notes, Sierra’s performance was a revelation. As an added bonus, Sierra is a doe-eyed, elegant beauty, and her portrayal of the ill-fated young Gilda won the hearts of all in attendance.

His vocal power and stage energy unaffected by the passing years, Leo Nucci delivers an electric performance of his signature role. Conveying Rigoletto’s bewilderment and blind fury, Nucci gains sympathy and affection. In superb voice, Nucci earns a roaring ovation with sympathetic aria “Cortigiani, vil razza dannata” as the pitiful hunchback tells the court that the woman they have abducted is his daughter.

As with the prima on 14 January, Nucci and Sierra bowed to demand and sang an encore of their Cabaletta at the end of act two, earning a mid-opera standing ovation. This is reportedly the first time a Verdi encore has been permitted at La Scala in 27 years.

A traditional production at its core, designer Ezio Frigerio nonetheless stages the opera on a truly epic scale. In a highly theatrical touch, the setting is a grand proscenium arch within the already grander than grand proscenium arch of the opera house. At curtain’s rise, dancers, musicians and ladies and gentlemen of court cavort before towering, decoratively carved gold walls with turquoise inlay.

Franca Squarciapino contributes to the spectacle with plenty of heightened details for his period costumes.

Rigoletto’s home lies downstage before a truly majestic city street, the height of which aids the visibility of the Duke and men as they stalk the hidden residence.

A further highlight of the design is the Duke’s palace, which features a massive wall of red and yellow stained glass windows.

Sparafucile’s makeshift dwelling lies before a great abandoned warehouse. Lighting designer Marco Filibeck fills this space with ominous lightning for the storm, which is also accompanied by torrents of real rain.

Carlo Colombara adds heft to assassin Sparafucile’s threatening presence with a rumbling bass.

Italian mezzo-soprano Annalisa Stroppa more than holds her own in this fine company as Maddalena, contributing lovely vocals to the famous quartet “Bella figlia dell’amore.”

Giovanni Furlanetto is somewhat outclassed as Monterone, his baritone not having the command required to make the curse sound sufficiently threatening.

Musicians of the Orchestra del Teatro alla Scala have Verdi’s music in their DNA. Under the nimble baton of Maestro Nicola Luisotti (below), the music sounds like the soundtrack to a Hollywood thriller.

A production of this scale and singers of this quality are the very reason patrons flock to La Scala.

Rigoletto plays selected dates at Teatro alla Scala, Milan until 6 February 2016.

Rigoletto was reviewed 3pm Sunday 17 January 2016.

Photos: Simon Parris

Spectacular dancing enlivens evergreen chestnut Guys and Dolls in this solid new production.

While the Donmar Warehouse spiced up their 2005 revival with dazzling marquee names, the casting is far more humble this time. This staging, however, is more lavish than a wall of light bulbs, and the direction and choreography make thorough use of the plentiful stage space at the Savoy Theatre.

One of the best known shows in the music theatre canon, it is best to let the timeless quality of the work speak for itself, and this is exactly the approach taken by director Gordon Greenberg. Peter McKintosh’s radiant overhead collage of billboards leaves the floor space free for seamless movement within and between scenes.

The chief attraction here is the achievement of joint choreographers Carlos Acosta and Andrew Wright, who deliver the most exciting dancing seen in this show in memory. From the opening notes of “Runyonland,” through “The Oldest Established,” and the dance break in “Guys and Dolls,” the choreography is closer to Newsies than the sedate storytelling usually seen in this show. If these sections are great, big numbers “Havana,” Crapshooters’ Ballet” and “Sit Down, You’re Rockin’ The Boat” threaten to blow off the roof with their energy and inventiveness. There is still storytelling embedded in the dance, but in more interesting and abstract ways.

Gareth Valentine’s new dance arrangements respect the source material while adding a fresh vibe. The fourteen musicians, mostly brass and woodwinds, sound nothing short of sensational.

Perhaps in an effort to match the energy of the choreography, or perhaps due to a lack of trust in the material, Greenberg feels the need to have his actors perform at their highest vocal levels in all the book scenes. Diction and slow speech, along with forceful projection, keep the text crystal clear, but subtlety and nuance are lost when everyone has to speak so slowly and carefully and loudly. Many of the jokes require a casual throwaway nonchalance, and this aspect is lost.

In avoiding star casting, Greenberg also appears to have gone overboard with realism. Never have so many bald men been seen on stage in the same together. McKintosh’s costumes nobly follow this natural approach, utilising colour and patterns well but adding little sparkle or glamour.

While Sophie Thompson is ostensibly the biggest name in the show, the biggest asset in the cast is Jamie Parker as Sky Masterson. In an interesting interpretation, Parker is a more ethically concerned man than the slick, suave, unflappable guy who is normally seen. Parker also has the casual, masculine Sinatra sound that is perfect for his songs.

Siubhan Harrison is a lovely Sarah Brown, and she and Parker do enjoy great “chemistry.” Harrison sings sweetly, and makes an amusing contrast in her transformation to tipsy Sarah in Havana.

Thompson wins the audience’s love as beleaguered fiancée Miss Adelaide, playing her as a self-aware but pluckily determined woman. Thompson scores extra laughs by having Adelaide swoop into a deep chesty voice when making a dramatic point. David Haig retains Mr Banks’ fastidious control and intellectual air, robbing Nathan of his spontaneous, seat-of-his-pants manner.

The supporting leads are well cast and are well matched in look and performance style. Special mention to Neil McCaul for finally making Arvide Abernathy’s ballad “More I Cannot Wish You” enjoyable to listen to (the orchestrations also helped). Extraordinarily tall young actor Nic Greenshields makes an ideal Big Jule.

The capacity audience at this performance were swept along with the nostalgia and blown away by the dancing.

Guys and Dolls plays at Savoy Theatre, London until 12 March 2016 before an extensive UK tour.

Guys and Dolls was reviewed 7.30pm Monday 18 January 2016.

Photos: Paul Coltas

In a dream pairing, Piotr Beczala and Elīna Garanča deliver magnificent performances in this meticulously directed revival of Werther at Paris Opera.

A simple but effective production, first presented at Royal Opera, Covent Garden, London in 2004, the realistic but pared back staging allows full focus on the protagonists. This is only fitting given that the opera is basically an intense character study on two young people at a tumultuous point in their lives.

Before the sweeping panorama of a steely grey sky, the perilously raked stage is first the slate tiled courtyard of the Bailiff’s home then a road to the church. For act three, Charlotte’s home is bare and stark, making it clear she is not enjoying a warm marriage with Albert. In an intriguing combination of lighting and scenic design, the final set moves forward slowly as the lights slowly rise, allowing our eyes to gradually absorb the horror that has transpired within Werther’s room.

While the colours of the costumes have been carefully selected, Christian Gasc’s decision to keep the characters in the same outfits despite the passing of three seasons remains an odd choice. Werther stands out in a gorgeous blue suit while the others wear muted earth tones. One moment where the use of single costumes aids understanding is the brief snatch of subplot concerning Brühlmann. First seen boring his fiancée in act one, his moss green top hat and suit make him instantly recognisable in act two when he is seen bemoaning the fact that she has left him, despite the seven year engagement they had shared.

Maestro Giacomo Sagripanti leads the Orchestra of the Paris Opera in a sumptuous performance of Massenet’s richly coloured, highly expressive score. The wide, open orchestra pit of Opera Bastille allows the varying dynamics to be enjoyed with crisp clarity. Massenet’s gift to the orchestra is the inclusion of potent interludes, which are each played exquisitely.

Growing more handsome with each passing year, Beczala is nothing short of sensational as tortured soul Werther. First seen in round rock star sunglasses and knee high black boots, Beczala avoids the swagger that such a look could provide, imbuing Werther with tenderness as well as anxious self-doubt. In a thrilling act two, Beczala conveys Werther’s rising mania in his face and body. As much as Werther wants to see Charlotte, when he does see her, the pain only becomes worse. She delays their next contact to Christmas, which may only be three months away but to Werther it may as well be three years. All will and hope knocked out of his body, he slumps to the ground with a pain so great the only relief he can imagine is death.

Beczala’s magnificent singing of the role is enhanced by a superb legato quality, which is evident not only in his phrasing but also in the fact he seamlessly produces the same rich tone in his mid range as in his high notes. When singing, Beczala uses minimal movement or affectation, projecting a full range of emotions, all compelling, through his vocal expression. Popular arias can occasionally sound safely familiar, but Beczala delivers a blistering rendition of “Pourquoi me réveiller?“ that earns a roaring ovation.

Dressed in virginal white, Garanča attains the look of a blossoming young woman coming into her prime. A serene beauty, Garanča can project the profound sadness and confusion of Charlotte despite her sunny blonde looks.

Massenet’s writing of the lead female role for a mezzo-soprano is a masterstroke, allowing a lush, full-bodied sound where ornamental beauty would be extraneous. Garanča’s deliciously rich sound is as fresh and pure as ever, with the added benefit of a more mature edge. Garanča’s delivery of the act three letter scene is a tour de force that runs the gamut of emotions with startling power.

Based not only on the finely nuanced performances of Beczala and Garanča but also on the whole cast, it is evident that the production has been carefully directed for this revival presentation. The cast uniformly shares a grounded, focused approach, presenting their characters in a sincere, naturalistic manner.

Charlotte’s dear younger sister Sophie, as portrayed by Elena Tsallagova, provides a burst of sunny optimism with each appearance, singing in an entrancingly crystal clear soprano.

Stephane Dégout succeeds in making Albert a less attractive proposition for poor Charlotte, who promised her mother on her deathbed that she would marry the man. Dégout conveys a dry, serious manner as he sings the role with clean efficiency.

As the Bailiff, Paul Gay is a fit, vital figure, and sings the bass role with a pure, unwavering quality.

Rodolphe Briand and Lionel Lhote play comic roles Schmidt and Johann without a trace of “drunk acting,” relying solely on the heart and good will of these jovial men.

Seasoned operagoers may have already seen this production, but the stunning quality of performances is a strong reason to enjoy Werther all over again.

Werther plays selected dates at Opéra Bastille until 4 February 2016.

Werther was reviewed 7.30pm Wednesday 20 January 2016, its premiere performance for the season.

Photos: Simon Parris

Christopher Hampton’s ever-intriguing play Les Liaisons Dangereuses is given a classy revival at the Donmar Warehouse, where the intimacy of the tiny auditorium immerses the audience in the great salons of 18^th century France.

Am I the only one who approaches a viewing of the play by identifying the film counterparts of each performer? In this production, celebrated actress Janet McTeer plays the wickedly manipulative La Marquise de Merteuil (played by Glenn Close in the 1988 movie), Dominic West has the John Malkovich role, the odious Le Vicomte de Valmont, Elaine Cassidy is the virtuous Madame de Tourvel (Michelle Pfeiffer), Morfydd Clark is innocent young Cécile (Uma Thurman), Adjoa Andoh plays her mother, Madame de Volanges, and talented newcomer Edward Holcroft is the petulant youth Le Chevalier Danceny (Keanu Reeves).

Tom Scutt has designed a large salon setting, gilded yet slightly aged, which represents each location with a few changes of furniture by the servant ensemble members. Angelic female voices raised in song smooth these scenic transitions. Touches of quality include the rich dark oak herringbone floor and the five chandeliers with burning candles. A large painting showing a debauched scene of nudes sets the scene for the predilections of the characters.

Scutt’s costumes are exceedingly handsome, yet have a muted, realistic look, rather than the heightened, pristine look often seen on stage or screen.

Josie Rourke’s direction keeps the dialogue delivery at a pacy clip, with speech delivered in natural, everyday tones. While this choice greatly aids accessibility, there is a slight loss in the sense of class and distinction in the characters.

The exception to this is the wonderful central performance of McTeer, who manages the natural speech patterns but has a delightfully plummy, imperious tone. McTeer conveys the duplicitous nature of the Marquise successfully and deliciously, also landing moments of searing pain as the vindictive woman’s schemes bring her heartache of her own.

West has a particularly down to earth manner and tone of voice that do not support the Vicomte’s standing in society. Playing one of literature’s most morally deviant villains, West does not convey the wicked delight and slimy seductiveness that the role requires; his Vicomte seems an everyday bloke rather than a viable match for La Marquise.

Cassidy begins with an understated presence as Madame de Tourvel, making it hard to see why the Vicomte is so keen on conquering her virtue. As events of act two transpire, Cassidy melts Tourvel’s defences and unleashes her desires, bringing out the best in West in their scenes.

Clark is a fresh and lovely Cécile. Andoh gives Volanges the wily look of a mother who is always on high alert. Una Stubbs is priceless as Valmont’s dear aunt, Madame de Rosemonde. Holcroft successfully masks his crisp good looks and masculine physique to play a foppish, romantic boy.

This is a case of the whole being greater than the sum of the parts, in that any hesitation over individual performances is offset by the overall strength of the production, which is in no small part due to the quality of the play in the first place.

Les Liaisons Dangereuses plays at Donmar Warehouse, London until 13 February 2016. It will be broadcast to cinemas as part of NT Live on 28 January 2016.

Les Liaisons Dangereuses was reviewed 7.30pm Friday 22 January 2016.

Photos: Johan Persson

In a nicely balanced, highly entertaining double bill, The Royal Ballet presents Rhapsody and The Two Pigeons, two gems from the treasured catalogue of works from Frederick Ashton.

A fitting showcase for leading stars Steven McRae and Natalie Osipova, Rhapsody is a dreamy contemplation on the pleasure of dance. Created by Ashton in 1980 for Mikhail Baryshnikov, the piece is focused more on the male principal dancer, who begins on stage and ends exalted in a grand lift by the men.

Rhapsody has the spontaneous delight of an abstract work; the dance just seems to organically suggest itself from the splendour of Rachmaninoff’s music. Excellent playing from Orchestra of the Royal Opera House is enhanced here by solo piano from Robert Clark.

In a starkly simple setting, designed by Ashton himself, we first find McRae as a golden statue, with female corps de ballet as frozen spectators.

Male dancers wear cream tights and gold top adorned with metallic gold trim.  Female dancers complement this in filmy pale pink skirts over a cream underlay, with silver metallic trim on the bodice.

Six female and six male dancers are given plenty of exposure, with many individual featured moments. Sitting dead centre provides the chance to appreciate the symmetrical elements to the choreography.

In peak form, McRae exhibits his dual signature strengths of lightning speed and a bold attitude. As well as fluid movement, the ballet calls for many snappy poses, and McRae strikes these with his unique edge of quirky, commanding expression. A series of pirouettes coming forward are completed at an incredible pace.

Making a delayed entrance, Osipova begins initially well upstage before on to sweep across the entire massive space. Working with nimble swiftness and a highly muscular sense of accuracy, Osipova performs the most challenging of steps, all with a serene smile on her face.

Ashton makes us wait for a pas de deux, then certainly does not disappoint. The music surges to a climax as McRae and Osipova perform a grand sequence that is tinged with heartfelt longing.

While the title The Two Pigeons might seem to metaphorically refer to The Young Girl and The Young Man, Ashton’s 1961 work actually features two live pigeons on stage. Presented in two acts, The Two Pigeons has the scope of a full-length ballet without any of the excess of divertissements or subplots.

The sincere Young Man attempts to paint a portrait of the restless Young Woman but she continually breaks into flirty dance moves.

Ashton ramps up the interest in the first act, beginning with the pair of protagonists before adding a bevy of female friends, in dusky tones of pink and mauve, then a camp gaggle of shirtless male gypsies, wearing bolero jackets and knee-length shorts in vivid jewel tones.

Tantalised by a Gypsy Girl, and frustrated with the Young Girl, the Young Man absconds with the gypsies, only to later realise his heart belongs with his initial love. The moving final image of the reconciled pair is set off beautifully as a pigeon flies on stage to join its partner.

In contrast with simple design of Rhapsody, Jacques Dupont’s setting for The Two Pigeons is a grander affair, featuring a spacious loft overlooking the chimneys of Paris and, later, a mysterious gypsy camp.

Lauren Cuthbertson is a magnetic delight as the Young Girl, so adorable that her Young Man seems terribly petulant to be annoyed with her fidgeting. Cuthbertson dances the role with perky freshness, moving with effortless lightness and grace. A terrific actress as well, Cuthbertson amuses as she mocks the dancing of the Gypsy Girl and captures hearts with the sympathetic regrets of the Girl.

Vadim Muntagirov gives a noble reading of the mirthless Young Man, making his final humility all the more affecting. Ashton’s pas de deux work for the pair is high on storytelling, featuring grounded, characterful work rather than the grand leaps and poses of fairytale ballets. Muntagirov and Cuthbertson perform this work brilliantly, conveying the aspects of the story as clearly as if they were in a play.

With scores of female and male gypsies on stage, act two features extended full company work that is deceptively simple yet completely dazzling to watch.

Fumi Kaneko conveys the exotic mysticism of the Gypsy Girl with a dazzling exhibition of dance.

Ryoichi Hirano has a commanding presence as the Gypsy Girl’s possessive Lover. Marcelino Sambé dances the Gypsy Boy with a mischievous sparkle in his eye.

Maestro Barry Wordsworth leads a grand performance of André Messager’s score.

Rhapsody / The Two Pigeons plays selected dates at Royal Opera House, Covent Garden until 30 January 2016. It will be broadcast to cinemas as part of the ROH Live Cinema Season on 26 January 2016.

Rhapsody / The Two Pigeons was reviewed 2pm Saturday 23 January 2016.

Photos: Simon Parris

The final performance of the current London season sees Matthew Bourne’s Sleeping Beauty in excellent shape for its coming UK and world tour.

Using a custom-modified version of Tchaikovsky’s classic score, Bourne has made fascinating changes to the well-known tale. After arriving in the late Edwardian era, Aurora’s coming of age occurs in idyllic pre-war 1911, thus placing her reawakening, 100 years later, in modern times.

Rather than being born to the king and queen, Aurora is mysteriously left on their doorstep. Magically unseen puppeteers portray the willful baby, who is an angelic cherub only when her parents are around.

Rather than attending a formal christening, the fairies, three male and three female, sneak in and leave each of their gifts represented by a white feather in the baby’s crib. Led by Christopher Marney as Count Lilac, these six dancers are clearly highly experienced. Their extended dance sequence is highly individual and full of expression. The highly experienced Marney, who also serves as associate choreographer, infuses all his movement with characterful purpose.

Carabosse storms in to curse the princess. Explaining her curse, she conjures a faceless doll to show that Aurora will die when she pricks her finger on an enchanted purple rose. Count Lilac likewise conjures a faceless male hero who he foretells will bring the Princess back to life with love’s first kiss. Tom Clark plays the haughty, imperious Carabosse with great presence, using his height to help the wicked fairy intimidate those around her.

By 1911, Aurora grows into wilful young woman of 21. She enjoys a flirting relationship with boyishly handsome gamekeeper Leo. As Aurora, Ashley Shaw has an appealing wide-eyed beauty, just like a Disney princess. Shaw has a vivid, charming presence, and dances the role with tender beauty. As goodhearted young Leo, Dominic North also has the face of a Disney good guy. With the audience firmly on his side, North dances the role with effortless flair, maintaining a humble countenance despite his impressive prowess.

Aurora’s coming of age is celebrated with sunny festivities on the palace lawn, where guests enjoy badminton and dancing to Aurora’s Waltz from the gramophone. In trademark style, director/choreographer Bourne gives everyone on stage a distinct character, and this informs all interactions and business. Watching this transpire in a large-scale company dance number is one of the great pleasures of a Bourne ballet.

Caradoc, vengeful son of the deceased Carabosse arrives with the purple rose. Clark conveys a barely contained obsessive drive as Caradoc, dancing with clean masculine lines that hide the mania below the surface.

Aurora’s finger is pricked and poison creeps up and suffocates her convulsions heartbreaking. Shaw’s adorable Aurora engages the audience so successfully that her plight is quite distressing.

As the act one curtain falls, Count Lilac sinks his fangs into Leo, ensuring he will be around to wake Aurora in 100 years.

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Just like in Brigadoon, the one hundred year time jump is made clear by the presence of sightseers in modern dress. Outside the overgrown palace, Leo has been camping in a tent. In a witty touch, the passing days have been marked as notches all over the tent. Count Lilac gives the Leo the key to the palace gate, inside which he encounters a chorus of dancing sleepers.

Creepy Caradoc caresses Aurora while sleeping, desperate for her to wake. Leo kisses and wakes Aurora but Caradoc absconds with her before a happy ending finally eventuates.

Les Brotherston has furnished the gothic production with a lavish design housed within glossy black constructions with gold trim. Two upstage travelators facilitate magical movement, and a bright full moon also features.

Brotherston has designed an amazing array of costumes. Given the number of characters seen throughout the ballet, it is rather unbelievable that in the curtain calls there are seen to be only 17 dancers in the company.

Matthew Bourne’s Sleeping Beauty played the last performance of its current London season on Sunday 24 January 2016. It now departs on a major UK and world tour to Italy, China and Japan.

Matthew Bourne’s Sleeping Beauty was reviewed 2pm Sunday 24 January 2016.

Photos: Jonah Persson

While music theatre fans across the globe wait to have the chance to see Hamilton, we still have the zesty, heartfelt pleasure of In The Heights to enjoy.

First a word about the fabulous new Kings Cross Theatre. An easy two minutes’ walk from Kings Cross Station, the space was custom built for The Railway Children, which now shares the theatre in repertory with In the Heights. Impressively, the architects have avoided the number one complaint about theatres by including a wonderfully large foyer space with atmospheric lighting, thematic décor and a range of food and drink for sale. This is a place to relax and get in the mood before a show rather than a cramped space to hurry through.

The performing space is a central strip between raked seating on two sides. With all the spinning in In The Heights, this layout is ideal. Set designer Takis has painted a colourful mural of subway lines on the ground, with constructed sets of the bodega at one end and the hair salon and car dispatch at the other.

In keeping with the vibrant Dominican-American characters, the costumes (Gabriella Slade) and lighting (Howard Hudson) are festively colourful.

Lin-Manuel Miranda’s intricate music and lyrics reward repeat listening. It is a credit to the precise diction of the cast, and the excellent sound design (Gareth Owen), that I heard some lyrics I had never caught before. The crisp sound design allowed multiple overlapping vocal lines to be heard distinctly in numbers like “96,000,” “Blackout” and “Carnaval del Barrio.”

The show can be criticised for the obviously telegraphed story developments, but there is ultimately a great deal of heart in the writing. Having an almost operatic structure, each character has their own aria ballad to express their inner thoughts and desires. In this company of incredible belters, these ballads are stunningly delivered, standing alongside the electric full company numbers without allowing the energy to flag for a moment.

Director Luke Sheppard delineates the characters clearly and keeps the action swift and fluid while also delivering the warmth and soul of the piece. Drew McOnie’s intricate, high-octane choreography is great fun to watch. Full company numbers are a riot of strong vocals and exciting dance moves.

There is a uniform consistency of talent in the cast, and the enjoyment they feel in performing the show is infectious. Sam Mackay successfully conveys the insecure authority of default community leader Usnavi. Newcomer Cleve September is endearingly sweet as Usnavi’s cousin Sonny, and is also a spectacular dancer. Eve Polycarpou balances the sweet tenderness of Abuela with the breakout vocals of her big number “Pacienca y Fe.”

Petite, short-haired Lily Frazer is a plucky, resolute Nina, and her soaring vocals are amazing. Playing salon owner Daniela at this performance, Philippa Stefani brings out a powerful belt in “Carnaval del Barrio.” Likewise, Jocasta Almgill, playing Vanessa at this performance, has her own lungs steel, as well as a charming stage presence.

David Bedella is well cast as proud small business owner Kevin, achieving the requisite balance between paternal firmness and tenderness. Josie Benson, as Kevin’s frustrated wife Camila, delivers a searing performance of “Enough,” as Camila loses all patience with the squabbles and deceits of her husband and daughter.

In The Heights is highly recommended viewing. Arrive a little early to appreciate the new theatre as well.

In The Heights plays at Kings Cross Theatre, London.

In The Heights was reviewed 6pm Sunday 24 January 2016.

Utterly charming and original, new Australian musical Ladies in Black is cause for celebration.

Nurtured and delivered by two state theatre companies, whose core business is straight plays, the surprise in the success of Ladies in Black is not so much that this happened at all but that it does not happen more often. Overseas, the subsidised or nonprofit theatre realm is often a melting pot for new music theatre work. Following this pattern, Ladies in Black should now be picked up by some lucky producer for a healthy commercial run. Fingers crossed that this will turn out to be the well-deserved outcome in this case.

While there are an infinite number of variables that have to fall into place for a successful new musical, the score is paramount. Ladies in Black not only skips the most common source for new musicals in Australia (the “jukebox”) but also significantly improves upon recent high profile new musicals King Kong and Strictly Ballroom by having a the distinct voice of a score written by one composer.

Joining a league of popular music writers turned musical composers, Tim Finn joins the likes of Elton John, Tim Minchin and Cyndi Lauper in turning his hand to music theatre. Decades of experience in writing catchy hooks and snappy lyrics bear great fruit here, with a score that is enjoyably accessible on first listen. The snappy lyrics are witty, with many laughs coming from the delectable rhymes.

Stephen Sondheim’s Finishing The Hat may be a little aspirational for Finn’s sole background reference in his composer’s note, but he does acknowledge how high this sets the bar. And what Finn accesses here is an authentic Australian vernacular that only a local songwriter could achieve. Songs such as “He’s A Bastard” and “I Just Kissed A Continental” are a perfect tonal match for Carolyn Burns’ breezy book, the whole affair viewing 1950s Australia in a sunny, if not entirely rose-coloured, light.

The extensive experience of music theatre director Simon Phillips, also credited as dramaturg, has clearly been integral in shaping the work as a piece of music theatre. Finn delivers the requisite spread of songs, from establishing numbers, I wish songs, I am songs, patter songs, charm songs, ballads and production numbers. There is no climactic 11 o’clock number, just a reprise of “Can’t Wait until Tomorrow Becomes Today” as the characters, current issues resolved, continue to look to the future.

Based on Madeleine St John’s 1993 novel The Women in Black, the musical tells a snippet of the coming of age of a nation while ostensibly focusing the coming of age of intelligent young Lisa Miles. Working at David Jones Goodes department store the summer after finishing her Leaving certificate, Lisa’s excellent academic education is enriched with broader life experience as the stories behind the austere black outfits of her new workmates unfurl.

Burns’ text deftly avoids the cultural cringe while shining a light on the expanding horizons of 1950s Australia. Entrenched sexism is mocked, and subtle points are made about overcoming the ongoing intertwined fear and racism against refugees. With Phillips’ input, the story is economically told with only ten actors. The doubling (or tripling) of roles works well, except for one anticlimactic sequence in which we do not actually see Magda’s New Year’s Eve party. Overlapping scenes, dream sequences and scenic dissolves are all handled with a supremely modern fluid touch.

Under David Young’s musical direction, the band sounds richer than only six players. This can be credited to clever orchestrations from master musician Guy Simpson.

Gabriela Tylesova’s scenic design is based on seven Perspex pillars, with a good portion of the budget perhaps going on the three stage revolves. Tylesova’s costumes are reliably sumptuous, providing a range of highly attractive cocktail and designer gowns. Featured gown the “Lisette” delivers a dreamy Cinderella moment.

Christen O’Leary makes a welcome return to the Melbourne music theatre stage as the exotic Magda. While some of the sales ladies dismiss Magda as “continental,” Lisa discovers the warmth and creativity of Magda and family. O’Leary radiates Magda’s generosity while maintaining an intriguingly mysterious air.

The role of the gentle, sweet ingénue (think Cosette or Hope Harcourt) is a challenging one to make interesting. Sarah Morrison gives a lovely performance as Lisa, singing sweetly and forming genuine relationships with the women around her.

Experienced singing actress Lucy Maunder utilises her considerable talent to convey a large backstory to Patty, fleshing out the pain of young married woman whose marriage is threatened by fertility issues.  As Patty’s rather feckless husband Frank, Andrew Broadbent expands the role from a potentially one dimensional louse to a sympathetic, or at least understandable, man.

Naomi Price imbues the lovelorn Fay with a perky sense of hope. Bobby Fox is a great asset as the dapper Rudi, crooning a couple of comic ballads and fitting in some slick, fleet footed dance moves.

Deidre Rubenstein creates the beautifully sympathetic role of lonely Miss Jacobs, bringing a distinct tenderness and kindness in her voice.

Strong support comes from fellow company members: Greg Stone as a pair of husbands, Carita Farrer Spencer as Lisa’s protective but gradually understanding mother, and Kate Cole and Kathryn McIntyre playing at least two roles each.

Ladies in Black plays at The Sumner, Southbank Theatre, Melbourne until 27 February 2016.

Ladies in Black was reviewed 8pm Wednesday 27 January 2016

Photos: MTC

Completely captivating and refreshingly unpredictable, Meow Meow’s Little Mermaid is an immersive and highly theatrical cabaret.

The lights dim as a fragile figure totters forth, hair strewn with tiny party popper crepe streamers from the night before. Removing her fur, to, decadently, reveal another beneath, she sits and sobs upon a rock, telling us that this is a show about happiness.

With the Merlyn Theatre seating reconfigured into a U shape, we cocoon our goddess-like heroine on three sides, agog at the adventures that unfold with chaotic abandon. In fact, if there is a key element to Meow Meow’s successful creation here, it is this authentic feel of reckless spontaneity that runs through the seventy-minute performance. The audience is never permitted to sit back and relax in the manner that characterises lesser, middlebrow offerings.

While there is a (deliberately) painful sequence that is close to the central premise of Hans Christian Anderson’s The Little Mermaid, the concept is mainly a starting point for all things aquatic. Meow Meow swims elegantly overhead, marches about in flippers, swooshes about in a mermaid tail and, in a boldly courageous manoeuver, crowd surfs her way around the auditorium.

Flipping from sweetly polished tones reminiscent of a young Joan Collins to snarkily judgmental sideswipes of frustration, Meow Meow keeps the audience on their toes, so that they are afraid not to happy to participate, respond and react as required.

A particularly extraordinary aspect of Meow Meow’s talent is the power and range of her singing voice. Breathless French, guttural chest voice and bell-like soprano head voice are all part of her repertoire. Accompanied by five terrifically talented musicians, who are listed in the program as The Siren Effect Orchestra, our muse performs a range of carefully selected songs from the likes of Kate Miller-Heidke and Iain Grandage. Only one element of a show that includes comedy, acrobatics and paths, the incredible singing certainly leaves the audience wanting more.

A tale of love must involve a male counterpart, and Meow Meow receives wonderful support from Chris Ryan (her co-star for the London season of Meow Meow’s Little Match Girl). Buff actor Ryan is convincing as a straight-talking techie and later shows effortless flair in a singing and dancing duet as the Little Mermaid’s dream man.

While Meow Meow has devised the show herself, she has wisely involved a dramaturge, Tom Wright, as well as highly experienced director Michael Kantor, comedy director Cal McCrystal and choreographer Kate Denborough. Such a level of collaboration has no doubt contributed to the assured sparkle of the finished product.

The staging is given a glamorous polish by witty designer Anna Cordingley, who also creates a large-scale sense of scope in the relatively intimate space. A parabolic curve cut from a towering silver glitter curtain reveals a twinkling star backdrop. Paul Jackson’s lighting delivers luscious underwater effects.

No review can really do justice to the live effect of this show. Intrepid theatregoers are encouraged to experience the magic of Meow Meow’s Little Mermaid for themselves.

Meow Meow’s Little Mermaid plays at Malthouse Theatre, Melbourne until 14 February 2016.

Photo: Pia Johnson

Lightly comedic thriller North By Northwest looks glossy and grand in the larger space of the State Theatre.

Premiering last year as part of MTC’s regular season, the play’s status as a popular hit led to this commercial breakout season. Though no further dates are listed at this stage, the show seems a natural choice to tour. Looking further afield, this is the kind of clever concept and unique staging that New York and London audiences would flock to see.

Alfred Hitchcock’s famous 1959 film is adapted for the stage by Carolyn Burns and directed by Simon Phillips, a pair who is currently well represented in Southbank. Adapting Ernest Lehman’s screenplay for the stage, Burns re-tells the spiraling drama of mistaken identity with a dash of levity, solving the knotty problem of casting by assigning scores of roles to only 12 actors.

Besides presiding over intricately choreographed, frenetically paced scenes and scene changes, Phillips’ masterstroke is his concept for the live creation of special effects throughout the show. Cast on side stage manipulate small scale vehicles, backdrops and props in front of cameras, and the resulting footage is then beamed on a large scale to the towering rear screen. Far more than a gimmick, the idea is immensely entertaining and thoroughly satisfying. Part of the success is due to the variety of effects achieved, with the central crop duster chase a highlight and the evocation of Mt Rushmore a cheeky delight.

While the side stage effect work may be hard to see clearly from further back in this massive theatre, the idea should remain clear and the massive projections are easy to see. One benefit to sitting a little further back is the delineation of roles played by the same actors; with the faces not quite as clear, the wigs, costumes and accents help to create multiple characters more easily.

Nick Schlieper’s lighting pinpoints where to focus on the large and busy stage. Crisp sound design, by Terry McKibbin, allows every word to be heard with ease (besides, of course the crucial explanation of villainous Vandamm’s work, which is drowned out by plane propellers).

Phillips and Schlieper’s set design is a flexible series of gleaming panels of glass-like perspex. Given the see-through nature of the set, it would have helped sightlines if the front masking (which compensates for the size of the set on the bigger stage) was also see-through rather than solid black.

Ian McDonald’s atmospheric compositions are enhanced with featured original film music from Bernard Herrmann.

As harried advertising executive Roger O. Thornhill, Matt Day is a terrific leading man, confidently and convincingly portraying the character’s increasing ingenuity and skill while on the run.

Amber McMahon keeps the secrets of cool Hitchcock blonde Eve Kendall safe until they need to be known. Matt Hetherington purrs Vandamm’s lines with the non-descript European accent of the best of the Bond villains.

Gina Riley adds a merry feel to her characters, amusing particularly as Thornhill’s bridge-playing mother. Lachlan Woods has the chiseled jaw of an old-time Hollywood movie star and the threatening intensity of a no-nonsense henchman.Tony Llewellyn-Jones brings quiet class to The Professor.

Further members of this strong ensemble cast each have their moments on stage and side stage: Nicholas Bell, Ian Bliss, Lyall Brooks, Leon Cain, Sheridan Harbridge, and Lucas Stibbard.

North By Northwest is recommended for theatre audiences and theatre students alike.

North By Northwest plays at State Theatre, Arts Centre Melbourne until 13 February 2016.

Photos: Jeff Busby (2015 production)

Presented as a 1970s spy romp, Mozart’s The Abduction from the Seraglio is an amusing evening of beautiful music.

Mozart’s rarely seen opera, written mid-career on the cusp of his premium opera period, features lovely melodies that are simply there to be enjoyed. Conductor Greg Hocking leads a nimble, assured performance by Melbourne Opera Orchestra. The fine playing of many players is exposed in the score’s generous smattering of solo passages.

The featherlight plot, more of a scenario really, centres on the rescue of the kidnapped beauty Konstanze. The backstory and era are cleverly telegraphed through some swirling newspaper headlines during the overture. By the time the curtain rises and we discover Belmonte gathering up his opened parachute we know exactly what is happening.

Director Suzanne Chaundy’s concept fits neatly around the opera and generates an appealing aesthetic. The spoken dialogue is humorous but not over the top and certainly not crass. The humour is, to a significant degree, tied to the pace of the music. The type of comedy being suggested requires a more madcap feel, but this is not really possible with the lengthy stretches of music. Act one loses its initial momentum, but the remaining two acts benefit from moments of comic relief between gorgeous pieces of music.

Housed on a repurposed set previously designed by Andrew Bellchambers, the handsome production is enhanced by Daniel Harvey’s witty set dressing. Harvey may make a slight misstep by dressing two couples in pink and green, but the festive feel of his costumes overall complements the levity of the updated concept.

Lighting designer Lucy Birkinshaw generates the heat of the Mediterranean by bathing the stage in warm amber lights.

Although only utilised twice in this opera, the Melbourne Opera Chorus nonetheless sounds wonderful. The Chorus’ beautiful harmonies continue to be a feature of these productions thanks to the exacting work of chorus master Raymond Lawrence.

The knockout performance of the evening came from gorgeous soprano Lee Abrahmsen, who looked nothing less than goddess-like in her pale turquoise gown. As German diva Konstanze, Abrahmsen wobbled just a little on high notes in act one but made a stunning recovery in act two with a superb pair of arias. The first, “Endless grief tortures my spirit,” was filled with plaintive longing, and the second, “Tortures unrelenting,” was a mighty tour de force that brought down the house. Once in full flight, Abrahmsen’s expressive coloratura and lush high notes were an absolute joy to hear.

Eddie Muliaumaseali’i again proves a great sport in terms of using his hefty physique to convey a character. His Osmin is a surly bruiser, whose outward appearance is contrasted with a lovely rich singing voice. The role calls for some very deep notes and Muliaumaseali’i handled these passages with impressive control.

Christopher Lincoln Bogg brings a distinguished appearance to Belmonte, re-imagined here as a British aristocrat with Secret Service connections, and his tenor has a lovely tone. Bogg struggled with act three aria “Love, only love, can now direct me,” his voice tiring as the evening wore on, but he rallied for final duet “What dreadful fate conspires against us” with Abrahmsen.

Hannah Dahlenburg first appears in act two, taking to the stage in a confident, vivacious manner as Konstanze’s “PA” Blonde. Dahlenburg’s effortless soprano is heard to wonderful effect in act two aria “With smiles and kind caresses.” Singing beautifully, and maintaining an attractive sparkle in her eye, it is disappointing that more is not seen and heard of Dahlenburg, as the role of Blonde peters out as the opera progresses.

Paul Biencourt lands plenty of laughs as Pedrillo, adopting the accent of a 1970s British sitcom star. Nick Pelonis is somewhat underwhelming in the admittedly underwritten role of Pasha Selim.

Keen opera fans will appreciate the opportunity to experience The Abduction from the Seraglio.

The Abduction from the Seraglio plays again at Athenaeum Theatre, Melbourne on 9 February 2016, and at Robert Blackwood Hall, Monash University, Clayton on 19 March 2016.

Photos: Robin Halls

A series of music video clips come to life on stage, Ghost the Musical caters to the attention span of the YouTube generation. Thankfully, the talents of the terrific cast provide the heart and soul to go with the slick, glossy staging.

A hit when it opened in London’s West End in 2011, Ghost the Musical was originally announced to open in Melbourne in 2013 but producers backed out after the show’s lukewarm reception on Broadway in 2012. It is clear why the original London producers have persevered with bringing the show to Australia; the blue chip title has instant recognition and the pop-infused score is an attraction for a younger theatre crowd.

The current staging maintains the changes made for the Broadway production, in which the jarringly jaunty soft-shoe ghost ensemble number “Ball of Wax” was replaced with “You Gotta Let Go” and Sam’s favourite poster was changed from Princess Leia to Barbarella. The production is on a suitable scale for the massive Regent space, but it is disappointing to note that the Broadway orchestra of 17 musicians has now been reduced to an “orchestra” of seven players.

Adapting his Oscar-winning movie script for the stage, Bruce Joel Rubin makes the decision to update the setting to current times but does not see this through. Characters talk on landlines, banks uses paper account cards and a Brooklyn loft is discovered at $700 per square foot. In this post 9-11 age, Wall Street is no longer populated with greed is good yuppies. Still, romance is timeless, and the heart of the story lands a solid emotional punch, with a healthy dose of humour along the way.

Director Matthew Warchus keeps the action swift and cinematically fluid. Aided by illusionist Paul Kieve, Warchus creates showy special effects for the supernatural story elements. A combination of projections and thin, light video screens (with images by Emily Harding) support the nonstop stage movement, and the images are large enough to be seen throughout the expansive auditorium.

Hugh Vanstone’s lighting design is a significant feature of the production, enhancing the pop concert vibe and integral in facilitating the illusions. A key effect is the portrayal of Sam as a ghost, which is achieved by keeping him in a pale blue light no matter what the lighting on the rest of the stage.

Dave Stewart’s score has a modern, pop music sound that makes it accessible and enjoyable on first listen. The lyrics, by Rubin and Glen Ballard, are not as successful, with many songs grinding the storytelling to a halt.

With plot progression not occurring through song, the chorus becomes redundant. The ensemble is filled with highly skilled triple threats, yet they are reduced to moving bodies. The chorus has no character work at all, a processed sound to their singing, and, worse, lame choreography (by Ashley Wallen) that is a joyless series of jerky, dance school* moves.

Moving on to what does work in this production and it is all about the cast.

In a role seemingly tailor-made to her talents, Jemma Rix’s flawless voice soars through song after song. Rix portrays Molly’s vulnerability without making her a pushover and conveys her profound grief without making her a sad sack. Rix’s commitment to the supernatural elements of the story is the key to allowing the audience to suspend their disbelief. Already possessing a solid profile, this performance moves Rix to true leading lady status.

It comes as no surprise that Rob Mills is genuinely good as dear departed Sam Wheat. On stage for almost the entire show, Mills’ likeability provides an instant connection to Sam and this appeal only increases as the night proceeds as he deftly balances the character’s masculine and sensitive sides. Sam’s songs are also an ideal match for Mills’ vocal talents.

Mills and Rix enjoy strong chemistry, and Sam’s quest to avenge his murder takes on a compelling drive as the story moves to its moving resolution.

Offsetting the romance and tears is the hilarious work of Wendy Mae Brown as unwittingly talented psychic Oda Mae Brown. Already well experienced in the role, Brown has sensational comic timing and line delivery, and she sings up a storm in Oda Mae’s gospel-infused numbers. Brown gives a sassy, larger than life performance whilst also grounding the character with humanity.

London actor David Roberts steps in as deceitful banker Carl for the Melbourne season, a role he has played in UK and Asian tours. Roberts gives an assured, natural performance, showing the greed and desperation that bubble beneath Carl’s slick surface without making him a one-dimensional villain.

Rising talent Ross Chisari makes a strong impact as skeevy hood Willie Lopez. David Denis brings a powerful presence as Subway Ghost, and makes the rap stylings of his number “Focus” sound naturally authentic.

Ghost is the perfect date musical.

Ghost the Musical plays at Regent Theatre, Melbourne before continuing its tour to Sydney and Perth.

Man in Chair has reviewed Ghost the Musical in London and Broadway.

Photos: Jeff Busby

*no offence to dance schools intended

Anchored by an exceptional lead performance from Mike Snell, Saturday Night Fever features sharp choreography, excellent musical performances and a darkly dramatic story that is enhanced by the intimate space of Chapel off Chapel.

Having quickly established themselves as the ones to watch, independent Melbourne company StageArt have set the bar high for their prolific 2016 season. Bringing Melbourne audiences exciting boutique productions of rarely seen (or never seen) musicals, the company has exactingly high performance standards, particularly related to dance, and is well ahead of mainstream producers in promoting cultural diversity.

Anyone dismissing the musical Saturday Night Fever as a light 1970s nostalgia piece is sure to be surprised by the scope of the gritty drama behind the familiar dance floor images from the iconic 1977 movie. While Brooklyn is now seen as a trendy urban paradise in TV’s Girls, the 1970s Brooklyn of Saturday Night Fever saw working class families battle inflation, unemployment and a bleak world outlook. Differing races were mistrusted and women were treated appallingly. Alcohol and drugs offered an escape, but for these young characters dance was king, with Saturday night at local disco 2001 Odyssey the towering highlight of their week.

Rape, abortion and suicide are not the usual province of musicals, but Robbie Carmellotti’s direction has the cast work with great focus and drive in making the story’s twists believable and affecting. The book rushes some moments, particularly the mistaken revenge against the wrong gang in act two, but the cast’s commitment to the heart of the story never flags.

Carmellotti has each of the leads stand still centre stage and sing their big ballads (a practice known as “park and bark” in opera), and this less-is-more approach successfully forges a connection between audience and performers, increasing the impact of the drama.

Budget constraints impact the scenic design, meaning that some locations are mainly clear to those familiar with the film’s plot. Carmellotti adds to the visual interest by dressing the stage with ensemble members, giving the locations a lived-in look.

Lucy Wilkins’ costumes have an authentic 1970s style, with some of the flares, jumpsuits and wide ties providing what-were-they-thinking laughs of recognition. Tony’s signature white suit with black shirt is a highlight. While the men’s hair looks good, the lead females are, unfortunately, let down by poor quality wigs.

Quite possibly the industry’s hardest working lighting designer, Jason Bovaird is in his element here, with lighting effects being so integral to the locations. A feature of the scaffolding stage set is the use of two square frames of LED tubes. These tubes, in combination with the full rig, clearly involve a mind-boggling number of cues. Bovaird aids storytelling by pinpointing characters in white light, and his work is crucial in the delivery of the effect of the dramatic bridge death.

The quadruple threat members of the ensemble also play the score, with music director Tony Toppi on keyboard and Chris Duffy on drums being the only permanent musicians. This conceit is well integrated, in that the actor/musicians give off plenty of attitude when playing their instruments rather than retreating the sidelines. Given the demands on the cast, the musical performances come off brilliantly, and full company vocals also sound superb. In a very nice touch, each musician has their own bow, with the actor/musicians then joining the company for the cast bows.

Coming from one the best-selling soundtracks of all time, the Bee Gee’s songs are a definite attraction of the show. Originally played as background music, they do not all work as music theatre songs, with the clarity of the lyrics on stage at odds with the Bee Gee’s frequently unintelligible renditions of the songs.

Luke Alleva’s tightly drilled choreography is a thrill to watch. When the full company is in motion, the precision and the energy levels are amazing. The climactic dance contest is cleverly choreographed, with the Spanish pair, as intended in the story, clearly the best. “Open Sesame,” the Arabian-themed dance entry performed by Daniel Ham and Alexia Brinsley, is hilarious.

As hip-swiveling Tony Manero, Snell may be a little far from 19 but has an abundance of youthful energy and stage presence for the role. Barely offstage the whole night, Snell successfully bonds with the audience, making the arrogant, unsatisfied young man a likeable antihero. Snell’s dancing is excellent and his singing is tender.

Highly experienced performer Paul Watson pulls a remarkable dual role, as Tony’s embattled father Frank Sr and lively club DJ Monty. Watson brings gravitas to his dramatic scenes, and also impresses on lead and bass guitar.

Sheridan Anderson gives a solid performance in the complex role of Stephanie, conveying the conflict between the character’s Brooklyn origins and her social climbing reinvention. Anderson and Snell create believable chemistry, and both characters’ frustration at not being to connect physically, apart from on the dance floor, is clear. Anderson’s delivery of “What Kind of Fool” makes it one of the more successful song selections for the story.

In what I is arguably her strongest stage appearance to date, Elise Brennan is compelling as the skittish, sexually charged Annette. Brennan’s strong acting and singing are topped off by her incredible dancing; I found it very hard to take my eyes off her in the company numbers.

Dean Schulz nails the role of sniveling youth Bobby, plugging away at the character’s tortured self-pity so that his tragic fate is believable. Schulz sings modified hit “Tragedy” with sensitivity, and impresses mightily on the saxophone. Rounding out Tony’s sidekicks, known as “The Faces,” skilled music theatre practitioner Duane McGregor has plenty of bravado presence as Joey and Joseph Spanti puts a cocky sparkle in the eye of Double J. McGregor and Spanti are also strong dancers.

Saturday Night Fever may be missing some of the gloss of big budget productions, but for affordable music theatre it is very hard to beat.

Saturday Night Fever plays at Chapel off Chapel until 28 February 2016.

2015 StageArt hit In The Heights returns to Melbourne 11-12 March 2016. Later this year, StageArt presents Titanic the Musical and the Australasian premiere of The Color Purple.

Photos: Belinda Strodder

In an extraordinary collaboration, Victorian Opera and Musica Viva present the world premiere of Voyage to the Moon, a highly accomplished celebration of the beauty of Baroque music.

Music theatre buffs might think of an opera pasticcio as a jukebox musical. Here, works of Handel, Vivaldi, Gluck and several of their contemporaries have been seamlessly stitched to tell part of Ariosto’s 16^th century poem Orlando furioso (the full poem contains some 38, 736 lines!). The success in sourcing and arranging the music is a credit to the late Alan Curtis, who sadly passed away last year, and the subsequent work of Calvin Bowman.

Musical director Phoebe Briggs, on harpsichord, is joined by a sextet of carefully chosen musicians, whose expert knowledge of the baroque style allows them to play modern instruments with historically informed bowing and articulation. Arranged in a U-shape on stage, the musicians contribute to the performance energy with enthusiastic facial expression and spirited body language.

The opening night musicians were Emma Black
(oboe); Rachael Beesley, Zoë Black (violins); Simon Oswell
(viola); Molly Kadarauch (cello); Kirsty McCahon (double bass).

Complementing the integrated score is the deceptively economical work of writer, and director, Michael Gow, whose streamlined storytelling allows full focus on the emotional qualities of the music. Gow has the performers begin at full energy, the momentum never flagging for the 75-minute running time.

While surtitles would have allowed a more relaxed listening to the text (which is sung in English), the singers’ diction is excellent and the story is told broad, clear strokes. Friend Astolfo and magician Magus make a voyage to the moon to find the missing sanity of warrior Orlando. Guardian of the Moon Selena paves the way for a happy ending by eventually handing over Orlando’s sanity.

Christina Smith contributes a simple stage design, utilising theatrical objects such as stage lighting cases. A glowing full moon rises as Astolfo and Magus travel in a chariot made of two music stands. The lost items on the moon are the musicians’ instrument cases.

Far more elaborate are the gorgeously detailed period costumes, with Selena’s pale blue gown and sparkling crown a highlight.

Matt Scott’s lighting design keeps the stage wattage quite dim, to match the flickering footlights of the period.

Australia’s leading soprano Emma Matthews
is absolutely in her element, with the roles of Orlando and Selena combining to create an ideal showcase for her virtuosic talent. Beginning with her feisty characterisation of Orlando, Matthews clearly relishes the work, continuing with joyful abandon throughout the evening. In superb voice, Matthews’ coloratura is as astoundingly effortless as it is divine to hear. Matthews impresses with her first big aria “O why this rage and torment” (Molino), then later stops the show with “As strong as an army” (Hasse).

Mezzo-soprano Sally-Anne Russell
brings a serene, centred presence to Orlando’s devoted friend Astolfo. Delivering a strong pure tone and clean vocal lines, Russell sings with masterful control and blends beautifully in duets with Matthews. Russell’s tender delivery as Astolfo gently convinces Selena to hand over Orlando’s sanity successfully creates the emotional highpoint of the opera.

More than holding his own alongside these experienced colleagues, emerging young bass Jeremy Kleeman has an appealing sparkle in his eye as wise magician Magus. Kleeman’s youth allows a couple of fun moments, including a nifty spot of moonwalking and a physical position in combat with Selena that looks like he is about to shout “Expecto Patronum!”. Kleeman exhibits well-controlled power across an impressively flexible vocal range, his unwavering voice coloured with a most appealing warmth.

Voyage to the Moon is an inspired production, and the love that has gone into every note is evident. As much of a pleasure for the musicians to perform as it is for the audience to behold, Voyage to the Moon is a splendid musical treat that no opera lover should miss.

Voyage to the Moon plays at Elisabeth Murdoch Hall, Melbourne Recital Centre until Friday 19 February 2016 before touring to Sydney, Brisbane, Canberra, Perth and Adelaide.

The Voyage to the Moon program can be read online.

View the trailer for Voyage to the Moon:

Photos: Jeff Busby

A slow burn, Banquet of Secrets’ ultimate success is due, in no small part, to the dazzling talents of its charismatic quartet of performers.

Billed as a musical, the new work really only differs from opera in that the singers wear body mikes and there is a smattering of dialogue. The non-naturalistic ebb and flow of reality and dreams makes the piece a natural fit for the opera stage.

Like the four central characters, the composers of Banquet of Secrets have been friends since university. The close relationship between Steve Vizard and Paul Grabowsky seems to have facilitated the creation of a musical that is far more accomplished than many a first time effort.

Grabowsky’s score is mellow, subtle and seductive, switching gears easily from haunting arias to perky comic numbers. With little more than the occasional surreptitious nod of the head, Grabowsky leads four fellow musicians and the four singers from the piano. The music is clearly very well rehearsed, with musicians and singers alike performing as if the work is already in their DNA. Dreamy harmonies are a highlight when the four singers all take flight at once.

Vizard gives a nod to Sondheim’s work, particularly Company, in that the characters’ lyrics are peppered with their own unique vocabulary, as befits their career, lifestyle and moral philosophy. In a very funny sequence, Vizard takes an extended swipe at the utterly pretentious menu descriptions used by upmarket restaurants. Social media obsession is also explored, in a frisky, well-timed comic number that breaks up the drama of the confession of secrets.

The premise of four long-time friends each sharing a deep secret over their annual dinner may sound somewhat simplistic, but the conceit is given depth through the immersive musical number that accompanies each confession. Time melts away, as do the dinner and the restaurant itself. The combination of Vizard’s well-conceived secrets, Grabowsky’s hypnotic music, Roger Hodgman’s confident direction and the excellent performances from the cast results in a number of spellbinding sequences.

If there is a slight weakness in the book, it is the assumption that just identifying with the situation of a reunion of friends is enough to hook the audience. After an excellent opening company number, each of the leads has a song to establish their character but there are no “I wish” elements and hence there is no drive or subtext or tension for the first third of the 90-minute show. The fact that the show ends with the audience so well involved is a testament to the strength of the remaining two thirds of the material.

With a season of only five days, the lighting design (Matt Scott) and scenic design (Scott and Christina Smith) are relatively simple but very effective. A glossy black tarkett over the Playhouse stage floor reflects the luscious lighting of the full rear wall. A large, tilted overhead mirror reflects the progress of the delicious courses of the meal (also symbolically representing the mirror the characters are holding up to their lives). Flashes of lightning punctuate the scenes as time passes throughout the banquet.

Smith’s costumes represent each character quite well but are not particularly attractive or cohesive in design.

Playing the four long-time friends, Antoinette Halloran (Mia), Dimity Shepherd
 (Rose), Kanen Breen (Jean Pierre) and David Rogers-Smith (Drew) enjoy terrific chemistry, successfully conveying a depth of friendship that ignites quickly despite the gaps between meetings and in which the shorthand, foibles and shared experiences are deeply imprinted. There is palpable warmth and camaraderie between the four. Hodgman is clearly behind much of this, but the strong working relationships of the group add a level of enjoyment that cannot be taught. Perhaps from the fact that opera involves learning to sing at the same time as other singers, each of the four are also highly adept at energetically talking at the same time, a knack that is put to good use in creating energy and a sense of excitement.

Halloran imbues Mia with just enough vulnerability to prevent the high-flying socialite’s vanity to be off-putting. Shepherd garners more sympathy but challenges the audience rather than indulging in their affection.

With immaculate diction that brings to mind the great Dennis Olsen, Breen cultivates a polished air in Jean Pierre that is offset with an underlying sense of unease. Rogers-Smith slowly reveals why the goodhearted Drew seems plagued by an encroaching sense of numbness.

Top marks to Victorian Opera for cultivating this fine new work. It speaks volumes that Victorian Opera’s second presentation of the year is also their second world premiere of the year.

Banquet of Secrets may not reach the crowd-pleasing heights of Ladies in Black, but theatregoers are set to find greater depth and more lasting, thought-provoking material in this show.

Banquet of Secrets plays at Playhouse, Arts Centre Melbourne until 5 March 2016.

The Banquet of Secrets program can be read online.

Photos: Jeff Busby

Brimming with tender warmth, fiery passion, gentle humour and touching pathos, Taxithi is a moving celebration of the courageous Greek women who forged new lives in Australia in the 1950s and 60s.

As a loving gift to her descendants, Helen Yotis Patterson has crafted a richly fascinating collection of reminiscences and recollections. Far more surprising, amusing and compelling than any fictional accounts could possibly be, Patterson’s narratives are clearly the result of patient, careful listening and collecting.

While there is an innate heaviness to the material, the succinct, overlapping scenes give the show plenty of punch. The 80-minute running time fairly flies by.

Presented as an entertaining hybrid of interwoven story and song, the staging is enhanced with projected images related to the women, husbands and children whose tales are shared. Patterson is joined by fellow talented performers Maria Mercedes and Artemis Ioannides as three “Fates” who channel the voices of the past to inform the present.

While primarily an exploration of memories, the political message of Taxithi is unavoidable in our current climate. Around the middle of the show, one of the women who has been interviewed expresses her utter bewilderment at the current treatment of refugees given the way so many like her were accepted 50-60 years ago. The point lands strongly, and is reaffirmed at the conclusion.

Music is a very significant aspect of Taxithi. Musical director Andrew Patterson has arranged a host of Greek songs, which not only punctuate the scenes but also add extra layers of depth and emotion to the storytelling. English surtitles are used for many of the songs, but even when there is no translation, the meaning and feeling shine through. Andrew Patterson accompanies the performance on piano, and Jacob Papadopoulos provides an authentic Greek flavour on the bouzouki.

The intimate space of fortyfivedownstairs facilitates a close bond between performers and audience. Unamplified dialogue and vocals are easily heard, and every nuance of expression is clearly seen.

Director Petra Kalive has brought out a range of styles in the three performers, and uses just a couple of props to create variety and levels in the scenes. Kalive gives the show a natural feeling of flow, with stories just beginning and ending organically as if the descendants are really speaking spontaneously through the muses. In a wise move, the performers do not portray the tellers of the stories in their old age, but rather their young and vital selves.

Patterson generously shares her writing between the three performers, allowing each to be seen equally. Not only a terrifically powerful singer, Patterson also deftly balances heartfelt pathos with cheeky exuberance.

An old soul in a young body, the highly empathetic Mercedes excels at conveying the unavoidable pain of personal, and shared, grief. Mercedes tempers the dialogue with hope and compassion, and clearly conveys the wonder and excitement amidst the fear of starting a new life.

A graceful actress of resolute focus, Ioannides more than holds her own alongside her more mature castmates. Displaying a flexible, versatile performing range and a charming stage presence, Ioannides particularly impresses in a harrowing scene about suicide.

Theatregoers of Greek background will identify with and cherish Taxithi, and the universality of the unique work also gives it a broad appeal.

Taxithi plays at fortyfivedownstairs, Melbourne until 20 March 2016.

Photos: Sarah Walker

The quality of Violet exemplifies the ever-rising standard of the thriving independent musical scene.

In a boon for Melbourne music theatre lovers, emerging production company Blue Saint Productions presents Violet less than two years since its Broadway run opened. Originally staged Off-Broadway in 1997, the musical returned to the spotlight thanks to the interest of blue chip Broadway star Sutton Foster. Composer Jeanine Tesori also rose in stature as her new musical Fun Home drew attention in its 2013 Off-Broadway run.

Given that the staging of the Broadway season of Violet was very basic, the show is a perfect choice for a boutique production. In the intimate space of Chapel off Chapel, the highly personal drama achieves a strong connection between performers and audience. Indeed, when the Preacher’s gospel choir sings “Raise Me Up,” the infectious energy sees the crowd clapping along like a frenzied congregation.

Disfigured by an accident in which her father’s axe blade came loose, Violet’s journey down the highway mirrors Dorothy’s journey along the yellow brick road. The friends of Dorothy here are two young soldiers who, having seen worse from battle, are unfazed by Violet’s scar. Arriving in the emerald city of Tulsa, Violet soon finds that the wizardly Preacher is little more than a simple man behind the curtain.

Director Mitchell Butel has the cast work with unflagging energy and steely focus to tell the moving, ultimately uplifting story. Six of the 11 performers play multiple characters, each of which are clearly delineated. Racial integration is only slowly making its way through the American South of 1964, and Butel does not shy away from the sting of offhand racist remarks. Overlapping and simultaneous scenes are staged with crisp clarity, achieving the sophisticated flow that musical theatre can achieve but cinema cannot.

This flow is inherent in Brian Crawley’s tight book, which plays out over a single act of 105 minutes. The drama of Violet’s quest is established quickly when her opening I wish song, “Surprised,” establishes a goal that we know simply cannot be fulfilled. This tension bubbles away through the journey, until the combination of Crawley’s text, Butel’s direction and Sam Dodemaide’s towering achievement in the lead role bring it to its devastating climax. Thankfully, there is ultimately a message of hope as we see that healing of the soul is more cathartic than physical healing.

Using a set of chairs as varied as the characters, the Greyhound bus is represented in abstract formations. Simon Greer’s equally abstract physical collage setting of images of the road makes striking use of the tight space. Lucetta Stapleton’s costumes are grounded in reality but enhanced with a touch of theatrical flair.

Tesori has written an easily accessible, bluesy, gospel-infused score rather than a typical Broadway sound. Musical director Martine Wengrow on keyboards, along with five fellow musicians, matches the actors’ energy in bringing the fresh music to life.

Dodemaide is superb as Violet. Conveying the young woman’s delicate balance of pain and resilience, Dodemaide’s acting is as compelling as her belting is strong. Appearing vulnerable in her unadorned appearance, Dodemaide allows us to see Violet’s scar (which is not applied with make up) through the character’s learnt shame, fear, embarrassment and bravado. Witnessing this thrilling performance is as much as a reason to see Violet as it is to see the whole show.

Working as a perfect complement to Dodemaide, Luisa Scrofani, as Young Violet, gives an unflinching, intense reading of a girl whose carefree youth has been ripped away. As Violet’s Father, Damien Bermingham conveys the frustration and bluster of a backwoods man raising a daughter in difficult, if not impossible, circumstances.

Barry Conrad and Steve Danielsen are a well-matched pair as handsome young soldiers Flick and Monty. The men enjoy a breezy, playful journey while ignoring the potential threat of being sent to Vietnam. With an appealing sparkle to his presence and an exciting voice, Conrad is a terrific discovery for music theatre. He nails the upbeat mid-show crowd-pleaser “Let It Sing.” Proven leading man Danielsen deftly balances the selfish and compassionate sides of Flick, unafraid to be seen as a cad.

Deirdre Rubenstein is Melbourne’s current music theatre It Girl, joining the cast of Violet just a week after closing hit musical Ladies in Black. Demonstrating her powerful talent for text and character, Rubenstein’s kindly old Mabel is a darling, and her transformation to lady of the night Alice has to be seen to be believed.

Each member of the ensemble cast has their moment to shine as well as giving strong support throughout the show. Cherine Peck belts out “Raise Me Up” as sassy gospel sing Lula Buffington. Jordan Pollard flips on a dime from the glossy television act of the Preacher to his sharp real life personality. Versatile young performer Jack O’Riley sweetly croons “Last Time I Came to Memphis” as Radio Singer. Ryan Gonzalez gives a sympathetic performance as the Preacher’s put-upon assistant Virgil. Katie Elle Reeve exudes perky flair as the Music Hall Singer performing “ Lonely Stranger.”

For lovers of modern Broadway magic, Violet is very highly recommended.

Violet plays at Chapel off Chapel until 20 March 2016.

Man in Chair reviewed the Broadway season of Violet.

Photos: Ben Fon

Commencing its 2016 Melbourne season in top form, The Australian Ballet continues its recent trend of exciting modern dance programs with Vitesse.

Following a style that began with Vanguard (2013), continued with Chroma (2014) and, arguably, peaked with 20:21 (2015), Vitesse features carefully curated modern works, high production values and thrilling ensemble work featuring dancers from all ranks of the company. If these evenings serve as a barometer of the health of the company, The Australian Ballet is in brilliant shape for 2016.

Drawing on the work of three truly great choreographers, Vitesse matches two classic pieces with an Australian premiere to create a pure dance program linked in style by the use of affective abstract formations.

Although Jiří Kylián created Forgotten Land about the evolving coastline of England, the work is a natural fit for an Australian company and audience given our connection to and appreciation of the land.

The piece has an extraordinary beginning, in which only the sound of wind accompanies the 12 dancers as they move in perfect unison without the benefit of the rhythm of music. Once the music begins, Britten’s Sinfonia da Requiem provides a melancholic atmosphere punctuated by resounding beats from the kettledrums and flares of energy from the brass.

The six couples are paired in complementary shades of rich earth tones, wearing loosely flowing garments designed by John F Macfarlane. Macfarlane’s scenic design is particularly striking, with muted chrome floor and burnished copper backdrop varying in appearance significantly as the lighting states change.

Deliberately breaking a stage rule, the dancers are first positioned with their backs to the audience, a decision that succeeds due to the unmistakable strength of the dancers physical presence. Kylián’s choreography has a spontaneous feel, particularly when mirroring the wave-like motion of the sea. Late in the piece, damage to the land is signified as each dancer leaves their partner and throws themself to the ground to the sound of ever diminishing bursts of fanfare. The three females that are left potentially suggest the promise of hope from Mother Nature.

After a protracted absence, it is wonderful to see highly popular Principal Artist Adam Bull back on the Melbourne stage. Ever a gracious leader, Bull once again demonstrates the tender, noble sensitivity that tempers his strength. Bull is beautifully partnered by Amber Scott, their work leaving the audience wanting more. 

Lana Jones and Rudy Hawkes dance the key duet in Forgotten Land, both personifying the tumultuous longing at the heart of the piece. Recently promoted Senior Artist Brett Chynoweth appears in excellent form. Dressed in vivid red, Vivienne Wong gives a particularly nimble eye-catching performance.

The second portion of the evening grabs the audience’s attention with an electric jolt from Willems and Stuck’s pre-recorded score as the curtain rises to reveal a vast black-box stage on which nine dancers sport variations of tight teal green Lycra. That electricity runs through William Forsythe’s In The Middle, Somewhat Elevated, as the relentless music and pristine variations create a mesmerizing effect on the audience.

Forsythe creates the lighthearted feel of a dance studio, with dancers swiftly switching between high performance mode and a more casual, slinky feel when on the sides of the stage. Keeping the stage in constant motion, each dancer has their own characteristic choreography. One fleeting moment of unison work makes a striking impression.

The combination of overhead lighting and the colour of the Lycra clearly shows every sinewy muscle on the dancers, often creating the sort of effects Hollywood achieves by sewing muscles into superhero costumes. Silken pointe shoes and bare limbs gleam in the white light.

Having shone throughout 2015, Kevin Jackson remains a superb leader. A gorgeous dancer to watch, Jackson enhances his physical strength by moving with a gentle flowing grace. Jackson is more than ably partnered in excellent pas de deux work by Robyn Hendricks. Ako Kondo also joins Jackson, exhibiting her characteristic elegance and flair.

Recently promoted to Soloist, fast-rising star Benedicte Bemet looks stronger than ever and delivers thrilling, highly focused work. Charismatic Principal Artist Daniel Gaudiello, his trademark flowing locks cropped to a leaner style, performs with reliable power and presence.

In the featured presentation of the evening, acclaimed choreographer Christopher Wheeldon’s Danse À Grande Vitesse (DGV) joins the repertoire of The Australian Ballet. Created for Royal Ballet in 2006, the ballet DGV is set to MGV, Michael Nyman’s music that was commissioned for the 1993 inauguration of the TGV high-speed train line in France.

The lights rise slowly to reveal a rear landscape of curved metal. Stiff bodies sway and weave, representing standing train passengers. As the work progresses, Wheeldon stages impressive sequences in which mechanical synchronised movement of the dancers represents perpetual motion. Joining four lead couples, the presence of the corps de ballet means that the stage can often be filled with dancers. Both unison and canon work are a delight to watch.

Amy Harris and Andrew Killian begin the journey with controlled, carefully measured strength. Hendricks and Jackson again shine in the large central pas de deux. Bemet and Hawkes are well matched in talent and commitment to beauty. In an all too brief cameo moment, agile Principal Artist Chengwu Guo, partnered by Kondo, displays his jaw-dropping speed and accuracy.

While Jean-Marc Puissant’s metal sculpture is most impressive, his costume designs are unattractive, using fabric that seems to represent the garishly streaked fabric of train seating.

Nyman’s score features pleasant music for the strings and mellow tones for the brass. Maestro Nicolette Fraillon presides over a seemingly effortless performance from Orchestra Victoria.

Lovers of modern dance will find plenty to enjoy in Vitesse.

Vitesse plays at State Theatre, Arts Centre Melbourne until 21 March 2016, and plays in Sydney 26 April – 16 May 2016.

Photos: Jeff Busby; (photo#2 Kate Longley)