Now in its fifth year, Opera Australia would seem to have perfected the presentation of Handa Opera on Sydney Harbour as a Major Event. This year’s offering, Turandot, is intelligent, lavish, slick and musically superb.

While Destination NSW tries to send out the message that certain musicals are exclusive, Handa Opera on Sydney Harbour truly is an Only In Sydney event. This may not be the only outdoor opera in the world, but the location is truly unique. Just entering the custom-designed site feels special, with the city skyline, Harbour Bridge and Opera House creating a backdrop more stunning than any designer could possibly create.

Turandot designer Dan Potra has made excellent use of this site-specific landscape. The perilously raked stage rises up to the dragon’s tail, representing the Great Wall of China, with the glittering cityscape still clearly seen in the background. Even Princess Turandot’s gleaming pagoda, studded with talons as spiky as her personality, sits in line with the height of city buildings in the distance.

While outdoor opera cannot provide acoustic music, the absence of which is potentially a deal breaker for purists, the creative team of Turandot has utilised the features that it can provide. Free from a proscenium arch, director Chen Shi-Zheng makes terrific use of height, flying first the Mandarin then the Emperor (Turandot’s “exalted” father) overhead by crane. Appearing in a high window of her pagoda, the Princess moves progressively closer to ground level as Prince Calaf solves her deadly riddles. Fireworks, now a traditional annual inclusion, mark the end of mega-hit aria “Nessun Dorma.”

The abundance of space in all directions give lighting designer Scott Zielinski scope to include a myriad of lights, which continually and extensively evolve with the mood of the opera. This is the first Handa Opera to make use of projections, benefitting from the sophisticated design of Leigh Sachwitz. Given the vast distance from the projectors to the dragon’s tail, the animated projections are impressively sharp and clear.

Indicating the level of collaboration within the creative team, Potra’s costumes for the villagers are of a flat silvery material that serves as an additional canvas for the projections. Costume choices are on a grand deal without being quite as outlandish as some of those seen last year in Aida. The movements of Ping, Pang and Pong make very good use of their boldly coloured, sweeping garments. The female dancers, likewise, make lovely use of long draping cuffs on their sleeves. Gleaming blue paneled military garb is particularly attractive. While each of the lead performers is well served with a highly distinctive costume that clearly identities their role, the fact that the lead characters bear no similarity to any chorus characters seems an odd choice as they are all meant to be from the same world.

Edited for length, but not egregiously, the performance satisfies lovers of Puccini’s music while also providing a user-friendly running time for beginners or social operagoers. The 35-minute interval provides ample opportunity to enjoy custom hospitality, if one’s budget stretches that far, or take a closer look at the mighty dragon’s head or just enjoy the magnificent view as showcased by the highly creative site design by Adrienn Lord.

Shi-Zheng tells the dramatic fairy tale in bold, clean strokes. The timeless setting suggests the vast history and fine cultural accomplishments of China. Turandot is often seen as icy, but her imperious actions here are tempered with the understanding that she is trying to protect her family’s rule from an interloper. Rather than be carried away with spectacle, Shi-Zheng uses the large-scale production elements, huge chorus and lively troupe of dancers to judicious effect. The tightly drilled dancing is choreographed by Shi-Zheng.

In his fifth outing as Handa Opera conductor, maestro Brian Castles-Onion keeps the action humming along with brisk tempi. Presiding over a massive number of musicians and singers, Castles-Onion’s rock solid musicality and his flair support his unflinching leadership. Tony David Cray’s sound design capably transmits the fine playing of the Australian Opera and Ballet Orchestra, particularly the harp and the percussive bells and chimes.

Chorus preparation, by Anthony Hunt, is reliably excellent. The unisex flowing robes for the chorus create an interesting effect as the singers all look very similar yet all voice types are heard.

Given that outdoor amplified singing is not the primary focus of an opera singer’s career, Handa Opera has again attracted a top cast, each of whom is working at their premium level. Amplification occasionally works against vocal dynamics, but reproduction of tone and expression is excellent.

The performance is enhanced by the raked stage and raked seating creating a close connection between singers and audience. For example, it can be clearly seen which of Luke Gabbedy, Benjamin Rasheed and John Longmuir are playing Ping, Pang and Pong. Each of these three sings with precision and expressive colour, and their animated reactions of outrage and disapproval are most amusing.

Appearing relatively late in the opera, after most characters have been established, any Turandot must strive to make her mark as the title character of the piece. Serbian soprano Dragana Radakovic makes a sensational entrance from a tilting arm high in her spiky pagoda. Singing with unwavering power and focus, Radakovic conveys the steely determination of a young woman who is forced to keep society at an unfriendly distance. Radakovic later allows a wave of warmth to melt the ice when Turandot is outwitted by Calaf.

Imposing tenor Riccardo Massi is in powerful voice as the brave and, fortunately, intelligent Prince Calaf. Singing with equal strength across his register, it is clear early on in the night that “Nessun Dorma” is going to be quite the showstopper, and Massi’s soaring rendition certainly lives up to this promise. The combined power of Massi and Radakovic brings compelling force to the final sequence, written by Alfano after Puccini’s untimely death, which can potentially fall flat after the integrated splendour of the choral and principal singing from the rest of the opera.

Hyeseoung Kwon gives an endearing performance as plucky slave girl Liù. Dressed in masculine-looking survival wear, Kwon’s beautiful singing allows the full femininity and vulnerability of Liù to pour forth, engaging the audience in the dear girl’s plight. Kwon effectively conveys the pain and indignity of torture, leading to a moving final moment for the character.

Conal Coad also gives a sympathetic performance as the fragile Timur. Unfortunately, Coad is robbed of Timur’s powerful aria, ” Liù, Liù, sorgi!” which usually provides a moment of solemnity after Liù’s death.

David Lewis lends his authoritative tenor voice to the uncompromising Emperor.

Turandot was reviewed 16 April 2016 at Fleet Steps, Sydney where it plays until 24 April 2016.

Photos: Prudence Upton

A terrific cast brings out the very best of brand new Australian musical CROSSxROADS.

What a difference a director makes. With the evolution of new musicals still not fully supported in Australia, CROSSxROADS stands well ahead of recent entries due to the simple act of engaging a strong director. The immediate benefit is that any rough patches or teething problems are at least partially soothed by the innovation and vision of a director who treats the work like a prized gem. The flow-on benefits mean that CROSSxROADS has attracted an incredibly talented cast and a highly capable production team.

Director Tyran Parke has taken a relatively simple story and created a living piece of theatre. The original work features the everyday characters of a romantic comedy. It is a little hard to care for the characters at first, as the set of graduating university students rushing off to travel the world seem to breathe fairly rarefied and privileged air, yet Parke wins us over with the intensity of the central romance as well as the amusing exploits of the comical second lead couple. Each of the eight highly talented cast members devotes their full energy and commitment to giving their very best performance.

Anthony Costanzo’s score is a highlight of the new work. Presented in the modern style where extended musical scenes involve seamless transitions between song and dialogue, the show achieves an effortless musical flow thank to the expert work of music director David Wisken. Wisken knows the music intimately, having written the arrangements and co-written the orchestrations with Costanzo.

There are many charming numbers, particularly a couple that are set up in advance through the script. Hannah has said that she likes “Wind Beneath My Wings” from Beaches then sings lovely ballad “Be My Wings” in a poignant scene at the start of act two. Likewise, Rick’s knockout act two ballad “Yellow Brick Road” draws on the fondness that the character expressed for The Wizard of Oz.

Keeping with the contemporary setting of the show, Costanzo moves storytelling forward with modern forms of communication. In the late 1990s, the characters make “The Phone Calls,” before moving on to “The Texts,” “The Emails” and, finally, Skype. Costanzo delivers two terrific comic duets. Best mates Rick and Barrel sing “Floating on Cloud Nine” the night before a wedding, and Hannah and Amy make light of their relationship troubles in “M.E.N.”.

While the score is instantly accessible and enjoyable, Peter Fitzpatrick’s book is problematic. While I could quibble about small points, like a teacher living in a small flat in Wonthaggi (are there actually any small flats in Wonthaggi?) and visiting rapidly back and forth to Melbourne, the big picture issue of the style of writing is more pressing. West End Madness musical Our House remains the greatest Sliding Doors musical ever written, and Broadway’s If/Then was ambitious, if not fully coherent. A “what if” musical is interesting, especially given the age and related lifestyle choices of the characters, but Fitzpatrick has used the idea superficially, presenting selected scenes three times, each just written different ways. There are no big choices and no consequences to any of the varying scenes. It is almost like watching drafts of a script play out on stage.

(Ok, one other small point: the show begins with the graduation of close members of a university college – why/how have classmates Amy and Rick never met?)

Moving past the initially un-engaging impression of the characters, Costanzo kicks the central romance between Rick and Amy into high gear with I am song “That’s My Shit.”

As breezy man of the world Rick, Stephen Mahy is in full leading man mode, a role he fulfils with charisma and vocal strength to spare. Many reaches a very impressive peak with heartfelt act two ballad “Yellow Brick Road.”

Delivering arguably her strongest work in recent years, Alinta Chidzey is completely endearing as intelligent but restless Amy. The vulnerability and sheer likeability that Chidzey conveys contribute greatly to the show’s success, and her singing voice is divine.

Playing comic leads snooty Hannah and earthy Barrel, Fem Belling and Joe Kosky give warm, winning performances. Although the key moment of their relationship development happens off stage, the pair provides plenty of engaging laughs along the way.

The production receives a massive boost from the presence of four supremely talented performers in supporting ensemble roles: Bianca Baykara, Edward Grey, Bronte Florian and Ryan Gonzales. While they have some nice featured moments, these performers are so strong that they really should be doing more than singing oohs and ahhs in the background and moving scenery.

Marcello Lo Ricco’s sound design is gentle and natural. Working on set and lighting design together, Rob Sowinski and Bryn Cullen have come up with a simple but effective staging with lighting that is pleasantly understated. Michael Ralph’s unobtrusive choreography is performed with the same high level of skill that the cast brings to all their work. Kim Bishop’s costumes make great use of colour themes and help to advance the characters’ ages as ten years pass by.

For musical lovers who usually see the big budget musical extravaganzas, this is a chance to show support for Australian musical theatre and to see some top performers in an up close and intimate setting.

CROSSxROADS was reviewed 6pm Sunday 17 April 2016 at Chapel off Chapel where it plays until 30 April 2016.

Photos: James Terry Photography

The incredible lead performance from Luigi Lucente is just one reason to catch Pursued by Bear’s all too brief season of tick, tick…Boom!.

Surely one of the most talented music theatre performers in Australia not to have been exclusively snapped up to the big time, Lucente delivers another nuanced, sensitive, finely honed performance in this ideal showcase for his talents. Intensely focused but entirely natural, Lucente has a surreptitious charm that makes his characters highly empathetic and relatable.

Originally presented off-Broadway in 2001, tick, tick…Boom! is a three-person chamber musical adaptation of an earlier rock monologue by Rent composer Jonathan Larson, who tragically passed away just as Rent was about to become a huge success. With his curls fashioned in the same style, Lucente clearly channels Larson, capturing the manic energy, tension and drive of the struggling composer on the cusp of his thirtieth birthday. Lucente’ expert performance mean that Jon’s highs and lows are keenly felt.

In addition to singing and acting his way through the entire 90 minutes of tick, tick…Boom!, Lucente also plays the piano on stage – without any sheet music. Set entirely during Larson’s lean times, this production plays with a musical subtext that indicates his future success by showing Jon dreamily toying with melodies that we all know will become a hit musical. Rent devotees will love these piano riffs.

Familiarity with Rent also makes it clear that Jon saw himself as a keen observer of details and human nature, like Mark, as well as a struggling musician, like Roger. The poignant final piano riff is the music that accompanies to Roger’s I want phrase “I’m writing one great song.” Jon used to throw the apartment key down to visitors, just as Mark and Roger do for Collins at the start of Rent. The life of Jon and his friends in New York in the late 1980s and early 1990s was hued by the spectre of becoming HIV positive, a concept that is strongly prevalent in Rent.

Musical theatre fans will also enjoy the running theme of Jon’s preoccupation with Sondheim. The company number “Sunday” is a delightful homage to act one finale “Sunday” from Sunday in the Park with George.

Strongly supporting the sharp but frantic creative mind of Larson is the highly detailed, immersive production design of Sarah Tulloch. The piano is the central feature on a platform of wooden floorboards, which is surrounded by a myriad of strewn pages of sheet music and all manner of inspirational minutiae. Lighting designer Jason Crick cleverly conveys Larson thought process with a range of overhead light bulbs. A striking feature of the design is the abstract rear backdrop that picks up rich lighting colours to sumptuous effect.

Director Paul Watson presents the work with a strong air of realism rather than stylised reminiscences. Strong dramaturgical work allows Larson’s stream of consciousness to make clear sense in terms of storytelling. The multiple characters of Lucente’s two fellow cast members are clearly defined. The three central characters suffer from the characteristic self-centred narcissism of New Yorkers yet ultimately remain likeable. Most importantly, Watson manages to imbue the short work with sufficient gravitas for the dramatic last minute twist of fate to pack a significant punch.

Musical director Jess Barlow has achieved a mellow light rock sound with the four-member band. Larson’s songs here are not as complex and infectious as those in Rent, but his intelligence and playfully innovative style shine through. The music is enhanced by the inclusion of two additional vocalists, Rebecca Hetherington and Mitch Roberts, who perform in character, so to speak, with actually playing characters in the show.

Angela Scundi is a strong singing and acting partner for Lucente. Primarily playing Jon’s fading love interest Susan, Scundi is particularly successful at delineating her different characters, instantaneously changing her voice, expression and body language to strong effect.

Quin Kelly gives a solid performance as Jon’s best friend and departing flatmate Michael, conveying the smug yet unsettled satisfaction of a man who has seemingly achieved life’s superficial goals.

A classy production, tick, tick…Boom! is an excellent addition to the year’s boutique musical presentations. Attendance by music theatre devotees is strongly encouraged.

tick, tick… Boom! was reviewed 8pm 22 April 2016 at Chapel off Chapel where it plays until 1 May 2016

Photos: Elissa Simone / The Film House Initiative

Evergreen world favourite La Bohème is always a popular choice, and when enhanced by the performances of such glorious singers it is easy to appreciate its enduring appeal.

 Back in 2011, Melbourne was fortunate enough to host the premiere of this production, the first to be commissioned by new artistic director Lyndon Terracini. It has become a regular summer fixture at the Sydney Opera House, but this is the first return visit to Melbourne. The calibre of the cast assembled for this return season means it has been well worth the wait.

While revisions to the time and place of operas can land with a thud, Director Gale Edwards’ masterful vision see the characters transplanted from 1830s Paris to early 1930s Berlin. Taking shelter in an abandoned spiegeltent, the young artists live their Bohemian lifestyle in a seductively decadent, licentiously liberal city. The presence of military regimentation hints at a darker future to come for the city.

Creating grand playing spaces, set designer Brian Thomson houses the action in the frame of a towering spiegeltent, its festive colours fading fast. Instead of painting a simple canvas, Marcello is painting a mighty mural on the walls of the tent. His interpretation of the parting of the Red Sea provides a dramatic backdrop for the final act. Instead of pausing for a scene change for act two, Thomson stages a transition from the interior to exterior by angling the walls, and follows this with a spectacular jump to the opulent splendour of the Café Momus.

Julie Lynch’s costumes delineate the characters with clarity, particularly for the four male friends. Playing Musetta, Jane Ede’s height adds extra glamour and presence to her shimmering sequined dresses and elegant blond marcel wave. Lianna Haroutourian is not as well served by Mimì’s plain dress and simple bob, with the overall effect suiting the sweetness of the character but not conveying how she caught the eye of viscount.

Revival director Andy Morton makes excellent use of the space and brings out the sense of fun of the struggling but merry artists. Marcello and Musetta’s protracted physical argument in act three makes perfect sense in light of their artistic temperaments. Played by slightly older artists, Mimì and Rodolfo’s love story comes across more as the discovery of midlife love than the expression of youthful passion, but the effect is just as touching. Morton achieves a palpable sense of closeness and sorrow amongst the six leads in the tragic final moments of the opera.

Maestro Andrea Molino maintains a gentle dynamic to Orchestra Victoria’s performance of Puccini’s evocative, romantic score, allowing key woodwind and harp phrases to provide gorgeous colour.

Italian tenor Gianluca Terranova has more than proved himself in prior Australian seasons of La Traviata and Rigoletto, and his singing as Rodolfo is equally superb, if not better. Without betraying a hint of effort, Terranova moves smoothly from mid range to his highest notes with the same clarion tone and carefully controlled power. From a magnificent beginning with “Che gelida manina,” Terranova gives a thrilling performance throughout the entire evening.

Making a very welcome Melbourne debut, Armenian soprano Lianna Haroutourian calibrates her voluptuous soprano, bringing out the fragility in Mimì with tender, silvery notes. The contrast with Haroutourian’s Sydney debut in the far more imposing role of Desdemona in Otello exhibits her adept range. Haroutourian’s luscious vocals blend beautifully with Terranova, and they create a most appealing pair of characters.

The success of this season is strongly supported by the excellent work of the remaining principals. Hearty Australian baritone Andrew Jones practically owns the role of Marcello in the various seasons of this production, and he brings a sexy, commanding vitality to the stage. Versatile Australian soprano Jane Ede proves an excellent choice for Musetta, conveying in equal measure the character’s vanity, glamour, jealousy, passion and tenderness, and singing “Quando m’en vo’ (Musetta’s Waltz)” like a shimmering art song.

Continuing the strong Australian presence in the cast, baritone Shane Lowrencev provides some much-needed levity as the fanciful Schaunard. Bass Richard Anderson, largely hidden under a bushy beard, gives an affecting rendition of Colline’s somber coat aria, “Vecchia zimara.”

While long-term operagoers may feel they have attended sufficient performances of La Bohème, the superb cast for this Melbourne season is a very strong drawcard. Newcomers to opera will swoon over the romantic music and story.

La Bohème plays selected dates at State Theatre, Arts Centre Melbourne until 28 May 2016.

Photos: Jeff Busby

The cult musical with the addictive mainstream score, Little Shop of Horrors is given as ingenious and well cast a production as fans could possibly to hope to see.

When a total eclipse of the sun delivers a strange and interesting plant, the Audrey II, humble shop assistant Seymour Krelborn sets out to reverse the fortunes of Mr Mushnik’s Skid Row florist shop and win the heart of beleaguered fellow sales clerk Audrey.

From its humble origins Off-Off-Broadway in 1982, Little Shop of Horrors has continuously played professional, amateur and school seasons around the world. The 1986 movie musical adaption gave the show’s popularity an early boost, but there is no beating the full score and pitch-black ending of the stage version.

Adapting the original 1960 horror comedy for the stage, composers Howard Ashman and Alan Menken, of The Little Mermaid and Beauty and the Beast fame, penned a songbook full of infectious, toe-tapping numbers that cast a deceptively cheery light over the subversively wicked material. Ashman’s book manages the rare feat of transcending what is ostensibly a satire to include a love story that is legitimately affecting.

In the hands of deliciously quirky actors Brent Hill and Esther Hannaford, Seymour and Audrey earns cheers of delight as they finally give in to their electric attraction, twisting and contorting their way to a passionate kiss, or two, in “Suddenly Seymour.”

Petite and cripplingly insecure, Hannaford’s Audrey is a jangling raw nerve; even the air she breathes seems to cause her ripples of discomfort. Not only blessed with a powerhouse singing voice, Hannaford has brilliant comic timing and delivery, scoring many a laugh from her unique, fresh delivery of familiar lines. Despite the outlandish scenario, Hannaford anchors Audrey’s aching vulnerability in reality, amplifying the audience’s responses to the character’s pain and fleeting moments of joy.

In an inspired choice, director Dean Bryant has Hill voice the Audrey II. Not only does this provide a tour de force opportunity for Hill, who effortlessly provides the monstrous plant’s voice while completely maintaining Seymour’s body language, but also creates the intriguing angle that Seymour is projecting the plant’s deadly instructions from his own mind. This makes the plant a kind of alternate personality for Seymour, allowing him to tap into dark recesses beneath his meek, well-mannered persona.

Bryant’s slick direction contains plenty of surprises while still showing absolute respect to the source material. The horror element is well realised, and the comedy, played completely straight, is delightfully effective. Another clever touch is having the Urchins speak with the sort of Hispanic accents that new Americans would have had in the 1950s.

Owen Phillips’ set design supports the off-kilter story with a set of perilous angles on the diagonally raked set of the store. Use of a simple curtain at the front of the store is a clever touch that covers scene changes and is also a screen for the occasional narrative-enhancing animated projections (by Jamie Clennett). Beginning in noirish black and white, a highlight of Phillips’ design is the production’s spectacular jump to Technicolor at the start of act two as the florist shop achieves incredible success.

The ever-increasing puppets for the Audrey II, by Erth Visual & Physical Inc, are on a most impressive scale and are fashioned from a range of attractive, tactile materials. The final Audrey II is a sight to behold, and is a highlight of the production.

Tim Chappel’s characteristic wit and flair are evident throughout his costume designs; he even throws in a quick nod to Priscilla as the Urchins parade out in their final plant-consumed costumes.

Josie Lane (Chiffon), Chloe Zuel (Ronnette) and Angelique Cassimatis (Crystal) have the best of Andrew Hallsworth’s nifty choreography, which pays homage to any number of classic moves from the era. Working with a company of only nine, Hallsworth creates interesting configurations while also ensuring the movement comes seamlessly and naturally from the situations.

If there is one creative element that let down the show on its Melbourne opening night, it is the harsh sound design, in which the vocals tended to be unnecessarily loud. Hopefully designer Jeremy Silver will tweak and remedy this aspect quickly as the season progresses.

Lane, Zuel and Cassimatis have plenty of zesty appeal as the sassy urchins. Avoiding sentimentality, Tyler Coppin brings an energetic intensity to perpetually irritated florist Mr Mushnik. Scott Johnson lands all the uncomfortable laughs of devilish dentist Oren Scrivello.

Aided by some flashy costumes from Chappel, ensemble member Dash Kruck makes the most of his swift series of three cameo appearances as talent agents and reporters swoop in on Seymour in act two.

Lovers of Little Shop of Horrors will thrill at the ingenuity and sheer talent of this new production. An instantly accessible show, Little Shop of Horrors is a terrific night out for newcomers and long-term fans alike.

Little Shop of Horrors plays at Comedy Theatre, Melbourne until 22 May 2016 before travelling to Canberra Theatre, Canberra, Playhouse Theatre QPAC, Brisbane, His Majesty’s Theatre, Perth and Roslyn Packer Theatre, Sydney.

Photos: Jeff Busby

Talented singing actress Anna O’Byrne dazzles with the range and beauty of her crystalline soprano in her debut album Dream, an eclectic collection of gorgeous songs from movies.

The scope of O’Byrne’s ability is reflected in the variety of artists who first sang the songs covered on Dream. Composition of the selected songs stretches back over more than eight decades, with the list of original singers including Madonna, Julie Andrews, Sarah McLachlan, Shirley Bassey and Kate Winslet.

Born in Melbourne, O’Byrne began her professional career with Victorian Opera before rising to prominence in the lead role of Christine Daaé in the Australian premiere of Love Never Dies. The production played Melbourne and Sydney and was filmed for international release. Since moving to London, O’Byrne has appearerd in productions including The Phantom of the Opera (Her Majesty’s Theatre), Barnum (Chichester Festival Theatre) and ENO’s Sweeney Todd (Coliseum). O’Byrne is currently starring as Sarah Brown in the UK tour of Guys and Dolls.

Last year, O’Byrne returned to Australia to star as Maria in The Production Company’s acclaimed season of West Side Story.

Bypassing the step where beginning artists record an album with only piano as accompaniment, O’Byrne is backed by a lush orchestra under the highly experienced baton of musical director Guy Simpson.

Far from simply a collection of well-known movie standards, Dream features lesser-known gems along with fresh arrangements that shed new light of popular favourites. Orchestrator Jason Carr has arranged “Diamonds are Forever” to sound like it might have been written for Candide’s Cunegonde to sing. “Blue Moon” is enlivened with a late night jazz club sound. Allowing an opportunity for vocal collaborators, Carr has adapted two songs into duets.

O’Byrne reunites with Ben Lewis, her Love Never Dies co-star, for a particularly striking arrangement of Rodger’s and Hammerstein’s “It Might As Well Be Spring,” from State Fair (1945). The pair begins by singing a capella with intricately woven harmonies, before moving on to bring plaintive longing to a song that is generally performed with a chirpy and upbeat feel.

For the evergreen classic “As Time Goes By,” which was actually written 11 years before its unforgettable use in Casablanca (1941), O’Byrne is joined by Canadian soprano Rebecca Caine, who originated the role of Cosette in Les Misérables. While both singers are sopranos, their voices achieve an exquisite blend like that of a soprano and mezzo-soprano in the famous “Flower Duet” from Lakmé.

O’Byrne demonstrates a breathy, sultry passion in “Sooner or Later,” which listeners may remember as being sung by Madonna in Dick Tracy (1990) but may not be aware was written by Stephen Sondheim. “Weep You No More, Sad Fountain” sounds like a centuries old classical song but is actually a seventeenth century poem that was set to music by composer Patrick Doyle for Kate Winslet to sing as Marianne Dashwood accompanies herself on the harpsichord in Sense and Sensibility (1995).

O’Byrne revisits what is arguably her greatest hit by singing the title song from Andrew Lloyd Webber’s Love Never Dies (2011). Featured use of harp and violin contributes to an exquisite track that highlights the power of O’Byrne’s voice right across her wide vocal range.

The album concludes with a pair of true beauties. “Crazy World” is a charming but little known gem from Henry Mancini and Leslie Bricusse’s musical score for Victor Victoria (1982). O’Byrne achieves the same pristine diction and delicate longing heard in the original version by Julie Andrews. Sarah McLachlan sang Randy Newman’s “When She Loved Me” in the heartbreaking sequence in Toy Story 2 (1999) in which cowgirl doll Jessie remembers her first owner. The song is the perfect example of O’Byrne’s heady mixture of gorgeous vocal tone and detailed vocal expression. These combined qualities elevate the album above and beyond pleasant but undistinguished easy listening music.

O’Byrne’s fans across the globe are sure to savour Dream, and the album will equally be enjoyed by lovers of fine music.

Anna O’Byrne: Dream is available from iTunes.

Photos: #2 Johan Persson, #3-5 Jeff Busby

Reigning masters of the non-professional premiere, CLOC Musical Theatre again works their magic, presenting a slick, spectacular, highly engaging production of über-hit Wicked.

Given the massive difference in budget between this staging and the juggernaut of the Broadway production, the achievements in production standard here are quite extraordinary. While many CLOC amateur premieres, such as The Phantom of the Opera and Mary Poppins, could be admired for their great accomplishments, the icing on the cake here is the quality of the performances. Music and choreography are excellent, and direction is especially strong.

While professional stagings have plenty of money for design and special effects, one aspect where they must be frugal is cast salaries. This company of Wicked is far larger than the franchised professional staging, and the combined effect of all those singers and dancers is very positive indeed. Musical director Danny Forward delivers thrilling chorus harmonies, and choreographer Lynette White fills the stage with varied layers of well-drilled dance.

Chris White’s set design brings the action forward and makes excellent use of the deep, wide apron of the National Theatre. Glinda’s bubble, the giant Wizard face and the overhead dragon are scaled down but very impressively constructed, and the various arches and balconies of the setting are sturdily and attractively realised. The only slight misfire is a projection of the house that has crash-landed in the cornfield, which is of a sketchy cartoon-like style that is at odds with the rest of the artwork.

Brad Alcock’s lighting design not only paints the air with streams of colour and dapples the stage in countless textured gobo effects, but also provides a myriad of gorgeous tiny green lights as decorative enhancement on the sets for Oz. In addition to light, Alcock also provides inky darkness to cover special effects. Elphaba’s climactic act one flight is terrifically impressive, although it is almost too well covered by downstage beams of light.

Once again, a massive part of the visual appeal is the stunning costume design of Victoria Horne. Broadway’s Wicked hosts weekly Behind the Emerald Curtain sessions where fans can look at design elements up close, and these costumes would more than stand up to that scrutiny. While retaining the general arc of the original costumes, Horne has shown all manner of inventive wit and flair in creating a stunning new set of costumes. Numerous highlights include the decadently glossy black sparkle of the mature Elphaba’s dress and Glinda’s crystal-studded pale blue fairy gown. Other highlights include Nessarose’s pale pink satin and lace gown for “Dancing Through Life,” and Glinda’s formal pale gold ensemble and her subsequent spun gold engagement gown.

Completing the distinctive look of the characters is a multitude of wigs designed by David Wisken. Wisken gives a strong indication of Glinda and Elphaba’s character development, giving Glinda a tightly coiffured look when she becomes a public figure and allowing Elphaba’s locks to grow when she drops out of society and goes into hiding.

All of this visual and musical appeal would be of little point without the beating heart of the story, so the assured confidence of co-directors Chris White and Lynette White is of supreme value to the production’s success. With the action placed well forward on the stage, nuances of plot and characters are crisp and clear, and even the laugh lines seem to land more successfully. Very good use is also made of the full width of the stage. White and White stage a different version of Wizomania, and use the ensemble to present a flashback during Glinda’s false account of the first meeting with the Wizard. Their boldest stroke, which gives a great boost to the mature vibe of act two, is the clear implication that Elphaba and Fiyero have just made love before singing “As Long As You’re Mine.”

In a well-matched pair of lead performances, Rosa McCarty and Emily McKenzie shine as Elphaba and Glinda.

McCarty brings out Elphaba’s compassion and consternation in act one, and then is even stronger as the mature Elphaba of act two. Whether it is playing Elphaba as arguing with her sister, sparring with Glinda or loving Fiyero, McCarty enjoys chemistry with all her co-stars, and the emotional intelligence of her performance adds plenty of depth and interest to her characterisation.

While Elphaba has the stronger character arc, McKenzie brings out plenty of detail as Glinda journeys from vainglorious brat to heavyhearted public figure. While McKenzie provides plenty of cute perkiness in act one, she is, like McCarty, at her best playing the more mature later version of the character. McKenzie has a lovely soprano that complements McCarty’s powerful belt to great effect.

Robbie Smith is a dashingly sexy Fiyero, singing the role with an effortlessly smoky charm and dancing up a storm when given the chance. Smith plays down the corniness of the role to chart the rise of a sincere young man from beneath the vapid prince’s superficial origins.

Hamish Anderson portrays the intense longing of the meek Boq and the unleashed anger when he is finally free. Grace Kingsford shows the rigidity of Nessarose’s anger and underlying self-loathing, and is very convincing when Nessarose finally has the chance to stand and walk. As with Elphaba, Glinda and Fiyero, the successful conveyance of the journeys of these characters is as much a credit to the strength of the actors as it is to the insight of the direction.

Highly experienced performer Carolyn Waddell brings lashings of class to the insidiously self-serving Madame Morrible. Waddell has a plummy polish to her speaking voice, and demonstrates the quality of her acting in scenes such as the top of act two, in which Madame Morrible is clearly the puppet master behind the public’s ludicrous rumours about the fearsome Elphaba.

Fellow stage veteran Lee Threadgold nicely underplays The Wizard of Oz as a dapper fellow with little self-awareness or remorse for the cost of his actions. In a dignified performance, Jon Sebastian earns the full sympathy for ill-treated professor Dr Dillamond.

Melbourne has been well served by the two professional seasons of Wicked but it is not too soon for fans to enjoy another helping, especially of this calibre. Newcomers to the show are sure to be utterly enthralled.

Wicked plays at National Theatre, St Kilda, Melbourne until 21 May 2016.

Photos: Ben Fon

Bizet’s charming score has made The Pearlfishers a bit of an Australian favourite, but even the carefully considered direction of Michael Gow is not quite enough to sharpen the ill-conceived concept and unwieldy libretto.

Gow’s main conceit is to make the three male leads European, bringing some clarity to these characters’ motivations and, incidentally, avoiding the sort of modern day backlash that can arise when Western performers dress up as Eastern characters.

With some of his Western trappings for comfort, Zurga is a pearl dealer, exploiting the local fishermen. Nadir is a game hunter who reunites with Zurga when he happens across the beach where Zurga operates. Religious racketeer Nourabad brings Léïla to the same beach, igniting a deadly conflict between the two men who both have a history with the alluring beauty.

These adaptions, along with the 1860 setting, fit perfectly well into the original plot, but the removal of Eastern mysticism may have been taken too far, robbing the opera of some of its characteristic vibrancy. Homogeneous styling of the chorus is an outdated design choice, and positioning of the chorus in rows of straight lines is below high school musical standard. It is hard to say which aspect was worse – the use of drab western fabrics for the chorus costumes (rather than attractive eastern fabrics), or the complete absence of spray tan for the shirtless chorus men.

While their appearance and direction may be uninspiring, vocals from the Opera Australia Chorus are absolutely superb, with chorus master Anthony Hunt excelling in his meticulous preparation of rich harmonies and tightly controlled dynamics. Even with large numbers on stage, the chorus performs a particular sequence in act one in a hushed pianissimo not much louder than breath.

Expertly integrated with the top class choral singing is the equally pristine performance of Bizet’s gently melodic score by Orchestra Victoria. With the music clearly in his blood, Maestro Guillaume Tourniaire works with energetic grace to give his attention and support to singers and musicians alike, creating a beautifully balanced and unified sound.

Kemp’s lackluster costuming is matched by a simple act one beach setting that is wide enough but not tall enough for the State Theatre stage. The outlook improves with larger temple and star cloth in act two. A stately yet decaying western house for Zurga is a clever touch from Gow.

Matt Scott’s lighting is suitably bright and sunny, but the attempt at a storm effect in act three is underwhelming and the lack of a fire effect in the finale is an odd choice.

While Gow’s character choices are interesting, his direction of the principals leaves much to be desired. Characters frequently stand too far apart and face squarely to the front, inhibiting them from making human connections with each other.

Of the four leads, the stand out is Steven Gallop in the featured role of Nourabad. Gallop has a masterfully assured stage presence, and sings with an unflinchingly strong clear bass.

José Carbó has a commanding presence as troubled expatriate Zurga. He sings with a hearty, heroic tone, although his voice loses shape somewhat in softer passages. Hidden under wildly wooly wig and whiskers (presumably to try to explain why Léïla does not recognise him), Carbó nonetheless conveys the simmering effect of Zurga’s inner demons, explaining his quick anger when betrayed by Nadir and Léïla.

Visiting Russian tenor Dmitry Korchak sings the role of Nadir with apparent ease, with secure top notes and lovely phrasing. Perhaps under-directed, Korchak does not quite achieve an involving characterisation of the role, although his big act one aria “Je crois entendre encore” is delivered with care and precision. Likewise, Korchak and Carbó’s performance of the famous duet “Au fond du temple saint” is given a sensitive rendition with a deliberately slow and involving build in power up to the final segment.

Beloved Australian soprano Emma Matthews also suffers a little from under-direction, portraying Léïla (the only native character in this version) with little or no eastern mysticism or exoticism. Matthews is in lovely voice, although just slightly overpowered by the orchestra in her middle register. An experienced and talented actress, Matthews’ high emotional intelligence comes to the fore in her affecting act two aria “Comme autrefois dans la nuit sombre.”

The high quality of the orchestral and choral music is sure to please operagoers who are fond of The Pearlfishers.

The Pearlfishers plays selected dates at State Theatre, Arts Centre Melbourne until 28 May 2016.

Photos: Jeff Busby

While the majority of commercial producers churn out safe revivals, the presentation of a challenging Victorian premiere falls, once again, to the independent theatre sector. Geelong-based company Doorstep Arts have taken the initiative to present this premiere season of Dogfight.

A touching love story blossoms from a very unlikely beginning as hardened marine Eddie Birdlace takes sensitive waitress Rose to a “dogfight” on the eve of his troop’s deployment to Vietnam. The loss of innocence for the central characters is given an undercurrent of significance by setting their last night of freedom on November 21, 1963, the night before America lost its innocence.

Trained to be unswervingly loyal, obedient and fearless, the desensitized marines think nothing of amusing themselves with a contest to see who bring the ugliest date to their final party. The fact that the men’s behaviour is uglier than any date they could potentially find is abundantly clear. Eddie shows signs of regret but is unable to prevent Rose being devastated at the cruel deception. The heart of the story comes in act two as the pair makes a deeper connection. Eddie’s attention makes Rose feel more attractive and Rose’s gentle coaxing soften Eddie’s hardened edges.

The score, by rising talents Benj Pasek and Justin Paul, is pleasantly reminiscent of the gentler songs of Spring Awakening. Musical director Trevor Jones leads a band of five musicians on side stage. Sound design is by Marcello Lo Ricco, which means that vocals are perfectly balanced with the accompaniment.

While music theatre generally looks to romantic comedy as source material, this dramatic musical is based on 1991 film Dogfight, and Peter Duchan’s book does not shy from presenting confronting behaviour and brutal tragedy.

Director Darilyn Raymondo brings out the intensity and focus required for the cast to convey the brisk but heavy storytelling. The commitment of the cast achieves a great deal with minimal sets and props.

Riannon Irving’s costume design for the female cast is quite suitable to the period, with some witty looks for the “ugly” women. The men’s uniforms are quite authentic but their civilian wear is not well aligned with the period.

Overall, the production values related to sets and costumes are not quite at the standard seen in recent independent boutique musicals, but if resources are limited, the choice to focus on cast and musicians is a wise one. Performances from the ensemble cast of 11 are solid, although some harmonies prove to be quite challenging.

Alexander Woodward has a masculine presence as Eddie, and generally portrays the young marine’s inner conflict quite well. Olivia Charamlambous is absolutely charming as Rose, singing sweetly and frequently flashing a disarming smile.

Zoy Frangos works with unflinching power as Boland, presenting the character as a driven young man who completely believes that he way treats others is right and necessary. Joel Granger as Bernstein, the third “Bee” of the three core friends, shows how young and naïve men were when being shipped off to war in a foreign land.

The company is blessed with the presence of highly experienced actress Sally Bourne, who lends strong support. Talented and versatile performer Jaclyn DeVincentis creates two distinct and memorable characters as Marcy and Peggy.

Tim Carney performs a range of cameo roles with flair. James Coley, Daniel Cosgrove, Jack Van Staveren and Hannah McInerney round out the supporting cast.

The musical landscape in Melbourne is all the richer for the presence of independent productions. The Victorian premiere season of Dogfight is sure to attract the interest of music theatre lovers who like to stay up to date with new musicals.

Dogfight by Doorstep Arts was reviewed 5pm Sunday 8 May 2016 at Chapel off Chapel, Melbourne where it plays until 15 May 2016.

Photos: Doorstep Arts

A bevy of young and exciting talents whip the crowd into a frenzy in the welcome Melbourne premiere season of Heathers the Musical.

The Australian production is a total improvement on the 2014 off-Broadway original, featuring vastly better scenic design, a terrific cast and audacious direction by Trevor Ashley. The characters are vicious, passionate, lewd, uninhibited teenagers, and the cast here achieve all this and more in ways that the restrained, PC New York production could not attain.

While Ashley’s direction peppers the action with plenty of salacious laughs, the dramatic tone is also very well judged. The original production was trying to be a parody of something that was already a comedy, albeit a pitch black one. These characters take high school seriously, and Ashley has the cast immerse themselves in the characters and high school life without needing to indulge in a smug knowing wink to let us they are in on the joke. Playing it straight allows the dramatic moments to land and makes the comic moments even funnier.

Based on the 1988 movie Heathers, a long time cult favourite, Laurence O’Keefe and Kevin Murphy’s book follows the plot closely and includes all the quotable lines. O’Keefe and Murphy’s hummable songs are instantly accessible and contain just as many laughs as the book scenes. Act two duet “Seventeen,” a bit of an anthem of the show, is a highly memorable tune.

Facing the horror of senior year, outsider Veronica sells her soul for a moment with the popular clique, inhabited by three beautiful, but black-hearted, girls named Heather. New kid J.D. soon exerts a deadly influence over Veronica as the pair starts to wipe out the worst of their high school brethren.

Beginning with the opening company number, ironically titled “Beautiful,” Cameron Mitchell’s witty, tightly drilled choreography is a joy to watch.

Significantly increased in scale from the opening season at Hayes Theatre, Emma Vine’s attractive set design makes inventive, non-stop use of several sets of lockers, which can turn into closets, Slurpee machines, beds and even coffins.

Angela White’s vibrant costume design references the movie, and the 1980s, scoring laughs without being over the top. Costuming is part of the storytelling when Heather Duke, previously in emerald green, takes over the red stylings that come with the precious red scrunchie of deceased Heather Chandler.

Musical director Bev Kennedy leads a rocking band of five, with herself on keyboards. Evan Drill’s sound design occasionally allows the band to overpower vocals, and occasionally missed microphone cues on opening night, but these aspects are sure to be corrected.

Her star well on the rise in Sydney, Hilary Cole finally makes a splash in her town of Melbourne. Perfectly cast as Veronica, Cole conveys the spiky torment of Veronica’s inner demons and unleashes a terrific, powerful belt in her singing.

Cole is well matched by fellow rising talent Stephen Madsen as the devilish J. D. In a raw but refined performance, Madsen maintains a driven intensity and detached coldness that make J.D’s machinations believable. Madsen and Cole enjoy passionate chemistry; there is no doubt that the two are destined to be stars.

The production benefits from the presence of well-established talent Lucy Maunder, who brings an extra touch of class and polish to her role as alpha bitch Heather Chandler. Maunder’s deadpan performance of Heather’s minimalist dancing at Ram’s party is just one hilarious highlight.

The quality casting continues with the fellow Heathers. Scoring arguably the best arc of the show, Hannah Fredericksen finds all sorts of subtle touches as the bullied, bulimic Heather Duke, before letting rip as the newly vicious, red-clad successor to the Heathers crown. A vivacious triple threat, Rebecca Hetherington successfully lands a serious moment in act two as Heather McNamara speaks out about her hidden depression in “Lifeboat.”

Lauren McKenna has fun with the distinct dual roles of Martha Dumptruck Dunnstock and hippy do-gooder Ms Fleming. A lightning fast change between the characters in act two is as funny as it is impressive.

As horny, uncouth footballers Ram and Kurt, Vincent Hooper and Jakob Ambrose expend just about as much energy as actual teenage footballers. Their subsequent cameo scene as the boys’ grieving fathers is amusing in a wickedly subversive way.

Ensemble members Sage Douglas, Mitchell Hicks, Heather Manley and Stephen McDowell each make the most of their chance to shine in featured roles.

Filled with infectious music and laughs, Heathers is a guilty pleasure that music theatre fans are sure to enjoy.

Heathers plays at Playhouse, Arts Centre Melbourne until 22 May 2016 before returning to Sydney 8 – 26 June 2016.

Photos: Kurt Sneddon

We may not have needed another revival of Singin’ in the Rain, but slick, glossy, intelligent productions of this scale are always a welcome sight. 

One of the all-time most popular movie musicals, Singin’ in the Rain has proved challenging to adapt for the stage due to the multitude of scenes and lack of chorus work. Director Jonathan Church has solved both of these issues, successfully presenting the show as a cohesive stage musical rather than an attempt to recreate a movie on stage. A prolific director and commissioner of musicals in his time as artistic director at Chichester Festival Theatre, Church’s first musical at Sydney Theatre Company is highly anticipated.

The action is all set on a giant movie studio sound stage, which nimbly changes for various scenes with a bench here, a desk there. Simon Higlett’s design maintains a detailed gray scale look all the way until act two’s “Broadway Melody,” which provides such a barrage of vivid colour that the focus suddenly seems to be the invention of colour rather than the invention of talking pictures.

The wooden floorboards on the stage are an ideal surface for all the tap dancing, and the thin gaps between boards facilitate the drainage of the gallons of torrential rain that flood the stage. Further technical achievements include the beautifully photographed silent and talking movies, designed by Ian William Galloway, and the hilarious scenes as the studio struggles to introduce the new technology of sound.

Tim Mitchell’s lighting is an integral part of the design, with backlit panels throughout the backdrop and solidly constructed legs. Lighting is also carefully placed to maximize the visual impact of the rain.

Andrew Wright’s dazzling choreography is a joy to watch, especially as performed by an ensemble of triple threats (the real kind, not the Lina Lamont variety). The choreographed overture sets a classy tone for the night, and the ensemble work reaches it zenith in the extended all-dance sequence “Broadway Melody.” Tap dancing for the lead characters reaches its peak late in act one with “Moses Supposes” for Don, Cosmo and the Dialect Coach followed by the utterly delightful “Good Morning” for Don, Cosmo and Kathy. 

Now featured in half the musical numbers and a great many of the scenes, the ensemble is exquisitely styled in Higlett’s authentic period costumes and hairstyles. No hipsters too vain to shaves their facial fluff in this production. It’s high pants and argyle vests for the boys, and marcel waves, arched brows and cloche hats for the girls. Even the Technicolor outfits for the fantasy world of “Broadway Melody” stick to the period, with girls in a luscious rainbow of fringed flapper dresses.

Dramatically attired all in black, Nadia Coote has a thrilling dance cameo in “Broadway Melody.” Also stepping forward from the ensemble to distinguish themselves in featured roles are Jan di Pietro, as the plummy Dialect Coach in “Moses Supposes,” and Lyndon Watts, who lends his velvety tenor tones to “Beautiful Girls” as Production Tenor. 

Maintaining a likeable stage presence, Adam Garcia returns to the Australian stage to head the cast as gregarious, goodhearted movie star Don Lockwood.

Almost unrecognisable in dark henna wig, Gretel Scarlett makes a charming ingénue as starlet-to-be Kathy Selden. Scarlett sings with tender expression and, thankfully, has more dancing to do than in her last starring role in Grease.

The endearing role of Cosmo Brown is a terrific showcase for Jack Chambers’ sensational tap dance skills. Chambers also rises to the challenge of providing many of the laughs as the quirky, self-effacing sidekick. These natural comic skills will only be further honed with more exposure. Cosmo’s big comical number “Make ‘Em Laugh” is an inventive highlight of act one.

Erika Heynatz contrasts the glamorous looks and the shrieking vocal tones of aggressively wily movie star Lina Lamont to great effect. Heynatz is particularly funny in the sound recording scenes, and also when deftly slipping Lina’s learned pronunciation of “can’t” into the vain star’s dialogue.

Ageless trouper Robyn Arthur is worth her weight in gold as celebrity radio commentator Dora Bailey and harried vocal coach Miss Dinsmore.

Singin’ in the Rain is good, old-fashioned music theatre fun that is sure to leave audiences smiling and humming a tune.

Singin’ in the Rain plays at Her Majesty’s Theatre, Melbourne until 3 July 2016, before travelling to Sydney, Brisbane, Adelaide and Perth.

Photos: Jeff Busby

A superb company of singers and a gleaming black and white staging bring an air of polished perfection to this Melbourne season of rarely-seem Verdi opera Luisa Miller.

 The domestic nature of the work is indicated by an opening scene of home and hearth made of white marble on a glossy black floor. During the overture, the floor glides back and slowly moves vertically upward, eventually inverting the statuary precariously overhead. As black clad mourners bearing flickering candles and white flowers process in a slow, mournful square about the stage where Luisa Miller’s body lies encircled by white roses, the overture seems to preview the tragic end for the titular heroine. As the opera begins, however, it is daybreak, and the local villagers welcome the morning by serenading dear Luisa.

Written as Verdi entered his middle period, Luisa Miller reflects features the familiar Verdi fascination with fathers and daughters. Luisa’s resolve to marry Rodolfo concerns her dearly loved father, Miller, and the pair is soon threatened with jail by Rodolfo’s father and the villainous Wurm. Forced to renounce Rodolfo in a letter, Luis is reunited with her father but the fate of she and Rodolfo is sealed.

First seen at Opéra de Lausanne in 2014, this sleek new production takes an abstract approach to time and place, simply allowing the action to speak for itself in the polished, pitch-black setting designed by William Orlandi. Formal attire adds further elegance. Orlandi clearly delineates the characters, with Luisa in virginal white, Miller in a light suit, and the dastardly manipulative characters in black. Federica, the self-centred duchess that Rodolfo’s father wants him to marry, is practically a black widow spider in her dramatic outfit.

While the overall costume design is excellent, the similarity of the black-clad men could have caused a difficulty in terms of recognition, but the outstanding cast, under resident director Matthew Barclay’s guidance, has created strikingly distinct characters that loom larger than life.

Original director Giancarlo del Monaco represents Luisa and Rodolfo’s private pain as a force that places them each in a prison of loneliness akin to the actual prison that holds Miller. In a final scene very similar to Aida, the tormented couple meets their tragic fate as the mirrored floor slowly slides back into place, closing the opera by reinstating the original setting.

The large ensemble works as something of a Greek Chorus, sharing news with the protagonists and informing the audience of the status quo. Anthony Hunt’s preparation of the Opera Australia Chorus is, as ever, confidently masterful, with diction and dynamics at premium levels.

While the richly melodious score may be unfamiliar to audiences, maestro Andrea Licita leads an intricately detailed performance of the score from Orchestra Victoria. Mellow clarinet work is a feature, as is the harp and percussive bells.

From orchestra, chorus and principals alike, the thrilling act one finale was an absolute musical highlight of the evening.

In marketing and publicity, Opera Australia has made no secret of the fact that this production is a showcase for the exquisite talents of Australian soprano Nicole Car, who is rising meteorically in international prominence and acclaim. Car more than lives up to the scrutiny of this pre-loading of expectations, sweetly singing in lush, full bodied tones of liquid beauty. Winning the audience’s affection instantly with her first aria “Lo vidi e’l primo palpito,” Car’s strength as an actress allows her to convey the extremes of Luisa’s joy and sorrow, emphasising the noble traits of the character rather than allowing her to be a victim.

High profile Italian tenor Riccardo Massi completes the attractive lead pair as Rodolfo. Massi’s voice is capable of romantic tenderness and ringing power; he and Car sound wonderful together. As Rodolfo reflects alone at the end of act two Massi’s performance of “Quando le sere al placido” demonstrates the tireless strength of his high notes. An imposing presence, Massi makes Rodolfo’s deadly impulse in the final act quite believable, yet still draws sympathy as the end draw near. 

In a warm and characterful performance, Michael Honeyman convincingly plays an older man. As Miller, baritone Honeyman sings with unwavering purity yet colours his tone with the vulnerability of the deeply protective father. As father and daughter, Honeyman and Car enjoy great chemistry, and their final bittersweet duet “La figlia, vedi, pentita” is memorably affecting.

David Parkin is just as convincing, in terms of playing a role above his own age, as Rodolfo’s viciously selfish father Count Walter. Parkin’s strong voice and commanding presence allow him to present the Count as a fellow not to be taken lightly. In his second highly impressive appearance of this Melbourne Autumn season, Steven Gallop is a truly hissable villain as the insidious Wurm. As their characters plot and scheme in act two, fellow Australian basses Parkin and Gallop join forces to sing “L’alto retaggio non ho bramato” and the result is electric.

In the utterly thankless role of the viper-like duchess, Sian Pendry establishes the character’s threatening presence with slow and deliberate moves and an intense focus. Like Car, Pendry is as strong an actress as she is a singer. Her expressive, meticulously controlled mezzo-soprano voice creates exactly the effect Verdi intended in contrast with the sweetness of Car’s voice. The almost entirely a capella act two quartet sung by Car, Pendry, Gallop and Parkin is an extraordinary musical highlight of the evening.

The quality casting continues right through to Luisa’s maid Laura, sung and acted beautifully by distinguished Young Artist Eva Kong.

Lovers of opera, and Verdi in particular, will revel in the high quality of Luisa Miller.

Luisa Miller plays selected dates at State Theatre, Arts Centre Melbourne until 27 May 2016.

Man in Chair also reviewed the following operas as parts of the Melbourne Autumn 2016 season:

Emma Matthews and José Carbó in The Pearlfishers “Expertly integrated with the top class choral singing is the equally pristine performance of Bizet’s gently melodic score by Orchestra Victoria.”

Gianluca Terranova and Lianna Haroutourian in La Bohème “Haroutourian’s luscious vocals blend beautifully with Terranova, and they create a most appealing pair of characters.”

Photos: Jeff Busby

Perhaps it is the same everywhere, but The Sound of Music seems to have always held a special place in the hearts of Melbourne theatregoers. This polished production is set to continue the love affair, while introducing a new generation to the rose coloured optimism of the Rodgers and Hammerstein classic.

Originating at the London Palladium in 2006, this touring production features highly attractive designs but is somewhat dwarfed in the cavernous Regent Theatre. The grandeur of the auditorium complements the work beautifully; as nuns process down the aisles we could be in an actual cathedral. The intimacy and impact of the story, however, are compromised by the sheer depth of the seating areas.

Robert Jones’ design allows scenic elements to glide in and out, achieving a cinematic flow. The visual appeal is further enhanced by the rich glow, and carefully chosen shadow, of Mark Henderson’s lighting design.

Combining the best of the original stage musical and the beloved 1965 movie, director Jeremy Sams has presented a version that is both familiar to lovers of the film but also slightly less saccharine. There is even a new dramatic fate for loveable old Max. If there is one alteration the film made that should have overridden the original book, it is the placement of “My Favourite Things,” which makes infinitely more sense in the thunderstorm scene.

Music direction, by Luke Hunter, remains at a superb standard.

While there is a new set of von Trapp children for Melbourne, the adult cast members have had the Sydney and Brisbane seasons to hone their performances, and the experience shows. Associate director Gavin Mitford has ensured there is a strong sense of spontaneity despite the familiarity of the plot. Only the hardest of hearts will go untouched when each of the children first approach and hug their father in their own individual way.

A crucial sequence that has been improved is the act two turnaround of the Captain’s romantic attention. The fact that the Captain parts with Elsa and takes up with Maria in the one scene brings a high risk of corniness. Romantic tension bubbles away merrily during the superb performance of the dance the “Ländler” in act one. In act two, the humility and tenderness of the returned Maria, in another plain borrowed dress, is contrasted with the superficial vanity and avarice of Elsa, who wants to know where the property line extends to. The Captain’s growing disdain is slowly telegraphed through the lyrics and choreography of “No Way To Stop It” (a significant song title), and then the final stage positions of the song, the unspoken tension at Maria’s return and Elsa’s pained but dignified exit all lead seamlessly to the outpouring of affection between the Captain and Maria.

Sharing the roles with two other sets of actors, the six youngest children were played on opening night by Alexander Glenk (Friedrich), Darcy McGrath (Louisa), Beaumont Farrell (Kurt), Karina Thompson (Brigitta), Ruby Moore (Marta) and Heidi Sprague (Gretl). Lovely young triple threat Stefanie Jones remains as eldest daughter Liesl. The children deservedly bring down the house with “Do Re Mi.” While it is almost impossible to pick highlights from this talented troupe, Farrell has a particularly touching, beautifully sung moment in “Edelweiss” when Kurt steps forward to sing with his father, who has been overcome by emotion.

Returning to her home state, Amy Lehpamer is set to clearly show Melbourne all the ways she has so thoroughly fulfilled the potential she has been demonstrating for the past few years. Giving a fresh, totally engaging performance as Maria, Lehpamer is funny, strident, vulnerable, touching, giddy, forthright and tender. She sings with an authoritative, expressive chest voice and clear, ringing high notes. This is a true star turn that will deservedly win Lehpamer legions of fans.

Well known on Melbourne’s State Theatre stage, versatile artist Jacqueline Dark crosses over from opera to music theatre to play a wonderfully warm-hearted Mother Abbess. Occasionally this role is played by a much older singer, but Dark, well and truly in her prime, lifts the roof in the act one finale, “Climb Ev’ry Mountain.”

The later incarnation of the Captain as a softer, loving father comes naturally to Cameron Daddo, and he has worked to find new strength in the earlier scenes where the Captain harbours bitterness and self-pity. Overall, Daddo has enhanced the character’s arc, adding to the impact of the role.

While the role of Elsa is usually played with a far more brittle, haughty, unlikeable edge, highly capable actress Marina Prior continues to bring out a softer, gentler aspect of the role. While this slightly undermines the clarity of the Captain’s choice, Prior has found enough vacuous conceit in the role to make her a sufficient contrast to Maria. David James keeps self-serving arts administrator Max Detweiler just a whisker shy of camp by emphasising the character’s role in the confusion and anger surrounding the implementation of the new regime.

Whether reliving childhood memories or introducing a new generation, audience members will appreciate this production of The Sound of Music.

The Sound of Music plays at Regent Theatre, Melbourne until 17 July 2016, before continuing to Adelaide and Perth.

Man in Chair reviewed the Sydney premiere of The Sound of Music.

Man in Chair published a photo preview of the Sydney season.

Photos: James Morgan (#5 Simon Parris)

In an eagerly awaited boon for Melbourne theatregoers, Malthouse Theatre hosts Belvoir’s acclaimed 2014 staging of The Glass Menagerie. The meticulous production shows the riches to be uncovered in treating a classic play with both the reverence and fresh insight it deserves.

The use of live camera feeds was something of a trend in Sydney theatre around 2014. Given the perfect sight lines and relative intimacy of Merlyn Theatre auditorium, the video feed that is sporadically used throughout The Glass Menagerie warrants only a passing glance rather than offering detailed insight. Adding to the irrelevance is the disconcerting lack of synchronisation between voices and moving lips on the screens. It is at least a blessing that director Eamon Flack only uses the video screens as an addendum rather than as a replacement for great slabs of live action, as was the case in the recent ill-conceived STC production of Suddenly Last Summer.

Arguably the most relevant contribution of the cameras and screens is their support of the play as “truth in the pleasant disguise of illusion,” as the character of Tom warns the audience in his early moments as narrator. Finishing his introduction, Tom changes costume from mature, worldly dress to simpler, boyish garb. Having costume changes in plain sight, along with scene changes carried out by the actors, also provides clear reminders that what we are watching is an illusion.

Despite the capacious, proscenium arch-free playing space, Michael Hankin’s scenic design retains a claustrophobic atmosphere. The whitewashed walls of the highly detailed set stand like a doll’s house amidst the modern technological trappings used to film, transmit and display selected moments of the action.

Mel Page’s costume design enhances the pale monochrome palette, just adding occasional splashes of colour for effect. Dressed to receive the gentleman caller, dear Laura is radiant in an ethereal pale green dress, and the momentary blossoming of her beauty is clear to see. Conveying matriarch Amanda’s detachment from reality, Page gives her fluffy pink layers of floral lace in a gown that, cruelly, no longer quite fits.

Flack has combed Tennessee Williams’ text for nuances of meaning, providing an unflinchingly painful portrait of the choking oppression of unintentional familial cruelty. In this age of prolific social media connections, the concept of the desperate search to avoid loneliness is perhaps more relevant than ever. Watching friends’ adventures on Facebook from home is not too different to living next door to the music and coloured lights of a festive dance hall.

Playing one of the American theatre’s grandest and most grotesque creations, Pamela Rabe is nothing short of superb as faded rose Amanda Wingfield. Tall and imposing, Rabe’s Amanda dominates the cluttered apartment space yet carries a simmering fragility that adds to the play’s tension. Transported back to her youth, Amanda giggles and whoops with delight as she prepares to receive a gentleman caller, albeit one for her daughter. Rabe’s great achievement here is the utter lack of affectation or histrionics in this monstrous role that could dissolve into high camp in lesser hands.

Flack’s interpretation of Tom is evidently in line with modern reading of the role as the embodiment of the closeted homosexual of the 1930s. Luke Mullins give Tom a polished, almost sibilant vocal tone, with just enough masculine edge for him to have survived working at the warehouse. In discussing possible gentleman callers for his sister, Tom is momentarily mortified when his mother asks whether there are nice young men at warehouse. Mullins’ portrayal of Tom, and his delivery of the narrative elements, successfully takes the audience into his confidence and allows viewers to see the memory play through his eyes.

In a neatly underplayed performance, Rose Riley conveys Laura’s inner turmoil with a minimum of external signs. Laura’s inferiority complex, which is more crippling than her damaged foot, is sympathetically conveyed. Dressed up for the gentleman caller, Laura finally has occasion to see herself as beautiful, providing a tender moment that Riley imbues with great dignity.

As Jim O’Connor, the much-anticipated gentleman caller, Harry Greenwood delivers a cheery yet gently self-effacing energy in line with Tom’s description of the character as someone who is mildly successful yet has not achieved the potential shown in his youth. The extended candlelit scene in which Jim breaks down Laura’s defences only to shatter her fragile trust is expertly played by Greenwood and Riley.

Lovers of great theatre should take advantage of the all too brief season of The Glass Menagerie.

The Glass Menagerie was reviewed 1pm 21 May 2016 at Malthouse Theatre, Melbourne, where it plays until 5 June 2016.

Photos: Pia Johnson / Malthouse Theatre / Belvoir

Superb direction and electric performances makes this presentation of Follies in Concert far more than a rose-tinted trip down memory lane.

One of Stephen Sondheim’s most luscious, melody-packed scores, Follies is very close to the heart of many a music theatre devotee. As well as the usual intricate, psychological, fiendishly difficult Sondheim songs, there are a host of glorious pastiche numbers, written to recreate the highly hummable songs of vaudeville and revues.

At a thirty-year reunion to farewell the soon-to-be-demolished theatre, a gaggle of aging showgirls gather to reminisce about their heyday in the Weismann Follies. James Goldman’s book focuses on the central love quadrangle of Sally, Buddy, Phyllis and Ben, as well as providing snippets of anecdotes for the supporting characters, who enliven proceedings with their nostalgic hit tunes.

Apart from a fabulous collection of stars, this season of Follies (the fourth that I have seen in Melbourne) is set apart by the crystal clear, and highly affecting, storytelling. With limited stage space, no sets or props and just modern evening wear as costumes, Tyran Parke’s direction brings the pain and regret of the central two middle-aged couples vividly to life.

While it is usually the pretty young leads who do all the kissing and hugging in musicals, Follies features passion and longing from real adults, each played brilliantly here. Sally (Lisa McCune) hopes the party will provide the chance to escape her dull husband Buddy (David Hobson) and reunite with Ben (Philip Quast), who is married to Phyllis (Anne Wood). Act one ends with an extraordinarily romantic performance of duet “Too Many Mornings” from Quast and McCune, leaving Sally to finally get her kiss from Ben as their respective spouses watch.

Parke makes excellent use of the younger “ghosts” of the adult characters, particularly in the dissolve to fantasy sequence “Loveland,” in which the older characters angrily berate the four younger incarnations for the mistakes they made with their lives.

The resounding impact of the subsequent breakdown of each character during Loveland makes the sequence far more than a showcase for the actors. Hobson surprises with a lively vaudevillian turn in “Buddy’s Blues.” McCune brings a haunting stillness to “Losing My Mind.” In sparkling red gown, and surrounded by a whole bunch of boys, Wood sizzles as she sings “The Story of Lucy and Jessie.” Quast is devastatingly convincing as Ben stumbles his way through “Live, Laugh, Love.”

Looking winsome and petite, McCune portrays the vulnerability fragility of Sally and her driven, blinkered love for Ben. Turning on the charm when Buddy is in public view, Hobson also shows the dread and boredom Buddy carries. Looking as glamorous as a star from the Golden Age of Hollywood, Wood spits out withering zingers as Phyllis, continuing that style as she sings her shattering ultimatum to Ben, “Could I Leave You?” Singing with his sumptuous burnished baritone, Quast conveys the hollow disillusionment of a man who has everything and nothing simultaneously.

The four leads are very well supported by the talented performers playing the younger versions of each role: Jenni Little (Young Phyllis), Lachlan Graham (Young Ben), Rowan Witt (Young Buddy) and Sophie Wright (Young Sally).

The only actress to feature in all four Follies stagings seen in Melbourne, Margaret Haggart sings “One More Kiss” with exquisite delicacy, supported beautifully by the powerful high notes of Madeleine Featherby as Young Heidi.

Debra Byrne is sensational as Carlotta, giving a vivacious, heartfelt rendition of iconic diva anthem “I’m Still Here.”

A series of toe-tapping tunes are heard in quick succession in act one as party guests let loose with their trademark numbers. A sparkling Patti Newton tries to carry Emily and Theodore’s “Rain on the Roof,” but is let down by a stiff Bert Newton not pulling his weight. Natalie Gamsu brings European flair to Solange as she sings “Ah, Paris!” Legendary performer Nancye Hayes imbues Hattie with a devilish twinkle, bringing down the house with “Broadway Baby.”

Playing star tenor Roscoe, David Rogers Smith provides soaring, rock solid high notes as he sings “Beautiful Girls.”

The act one highlight, and arguably the highlight of the night, comes as the women try to perform a favourite old company number. Vocal powerhouse Queenie van de Zandt leads showstopper “Who That’s Woman” with a merry sparkle, imbuing the lyrics with their full meaning. Visualizing themselves in their youth, the eight older women are joined by their younger counterparts, and Kelly Aykers’ wonderful tap choreography builds to its zenith.

Musical director Stephen Gray leads a sterling orchestra of 24 musicians, which performs on stage behind the actors. Sondheim’s score sounds thrilling with this lavish treatment.

The first full production for Storeyboard Entertainment, the high quality of Follies in Concert augurs well for future seasons. For a show that can often be just a featherlight collection of great tunes, the layers of meaning exposed by Parke’s direction add significantly to the attraction of this starry staging.

Follies in Concert plays two more performances at Melbourne Recital Centre on Wednesday 25 May 2016.

Photos: Jeff Busby

A cherished favourite of many a music theatre fan, Jason Robert Brown’s Songs for a New World shimmers with intensity in this powerfully sung new staging by Blue Saint Productions. 

Given the rigorous vocal demands of Brown’s 1995 song cycle, casting is paramount, and Blue Saint Productions has really struck gold in this regard. In electrifying performances, each of the four singers provides powerhouse vocals, featuring incredible range a fluid continuum of styles. Besides being sensational singers, each artist brings an abundance of emotional intelligence, masterfully maximising the poignant impact of the story in each song.

Director Luke Joslin has successfully guided the cast in developing sensitive, nuanced characters for each number. Wisely avoiding showy theatrics, the touching characters simply shine from the heart of each singer. Remaining on stage throughout the show, the performers simply face upstage, with gracious humility, whenever they are not featured. Turning sideways to sing backing vocals in dim or half light, there is a palpable sense of support and camaraderie that comes from the respect the tight cast has for each other.

Taking inspiration from the concept of travelling to New World, which is specifically referenced in the second song, “On the Deck of a Spanish Sailing Ship, 1492,” designer Jacob Battista has created the appealing visuals of a ghostly ship’s deck. At first, the relic appears to have been subjected to graffiti, but as the show progresses, the scrawlings are seen to be the character names, places and years of each song. The setting provides an interesting array of levels, and props are cleverly contained in the ship’s battered crates.

Opening on a rainy Melbourne winter’s night, Battista’s costumes connect the cast with the audience. Each singer wears comfortable, dark, cozily warm clothing, with a change during interval for variety.

Musical director Geoffrey Castles must have developed some sort of psychic connection with the singers, seamlessly conducting from behind the stage whilst also playing piano. Two fellow musicians, on bass and drums, provide ample accompaniment. Kelvin Gedye’s sound design is so natural that the performance almost sounds unamplified.

Peter Amesbury draws the eye gently to each singer with his subtle, atmospheric lighting design. The use of shading throughout allows for a strong impact when the stage is fully lit for all four singers in climactic moments. Amesbury highlights the character names, which are written on the set, with pinpoint accuracy.

In creating her diverse sets of characters, Natalie O’Donnell shows an impressive, heretofore-unseen talent for accents. Amusing as the boozy Mrs Claus in “Surabaya Santa,” O’Donnell is at her heartbreaking best as a woman desperately missing her husband and son during the American Revolution in “The Flagmaker, 1775.” O’Donnell also nails the moving moment of self-realisation at the end “Stars and the Moon.”

In the intimate space of The Loft at Chapel off Chapel, John O’Hara’s steely gaze captures and holds the audience’s attention with unyielding intensity. O’Hara sets a soulful tone for the evening in his first solo “On the Deck of a Spanish Sailing Ship, 1492,” and has the joint jumping at the end of act one with “The Steam Train.” O’Hara also intrigues with the groovy lament “King of the World.”

Teagan Wouters unleashes her powerful belt in recurring theme “New World,” contrasting this with tender expression in heartfelt ballad “I’m Not Afraid of Anything” and exquisite prayer “Christmas Lullaby.”

Linden Furnell, a relative newcomer to the Melbourne stage, has an appealing, ready charm and a lively stage presence. A strong storyteller, Furnell brings an understated but compelling energy to “The World was Dancing.” In charming duet “I’d Give It All for You,” Furnell and Wouters avoid potentially saccharine sweetness by singing with resolute, impassioned self-awareness.

Lovers of quality music theatre will relish the opportunity to see Songs for a New World performed at such a high standard.

Songs for a New World plays at Chapel off Chapel, Melbourne until 12 June 2016.

Photos: Ben Fon

Glistening with hand polished sparkle, Lyric Opera’s colourful new staging of Rossini’s one-act comedy Il Signor Bruschino is a frothy delight. 

Neatly updating the action from 18^th century France to a Rome fashion house at the peak of the garish 1980s, emerging director Lara Kerestes brings out a uniformly capricious comic style in each member of the appealing young cast. With reliably expert musical preparation by Pat Miller, the delectable score is performed with confidence and flair.

Chaotic misunderstandings ensue when lovesick young Florville impersonates Signor Bruschino Jnr to win the hand of fair Sofia, daughter of fashion magnate Gaudienzo. Kerestes creates lively interest with the eight-strong ensemble cast from the very first bars of the tuneful overture. Sung in English, with impeccable diction, the featherlight plot is simple to follow and provides many laugh out loud moments.

Lucy Wilkins’ witty costume designs see the cast outfitted in an outrageous rainbow of retina-burning neon designs. The overall effect is quite dazzling, but if there had to be a highlight it would be tottering assistant Mariana (Genevieve Dickson) looking like a walking New York taxicab in vivid canary yellow with black and white houndstooth inserts.

The tiered seating at Chapel off Chapel is pushed back to create a seemingly vast playing space, made all the longer in appearance by three wide white stripes running lengthwise down the centre. The U-shaped seating serves a triple purpose: it complements the fashion setting by generating a cat-walk vibe, it aids sound balance by keeping the orchestra well upstage, and it connects the space to the traditional horse-shoe shaped auditoriums of Europe.

Presiding over 14 talented musicians, Miller delivers a meticulously finessed rendition of the highly accessible score. The overture includes the interesting feature of the second violin tapping their bow on their music stand, a sound Kerestes uses to symbolize each character knocking before making their entrance.

Given the concise nature of the work, Rossini still takes his time with some wonderful character-establishing arias at the top of the opera. Playing Sofia as a rather vacuous sexpot, Rebecca Rashleigh charms with an opening aria that is as fine as anything Rosina sings in The Barber of Seville. One of the musical highlights of the evening is Sofia’s tender aria “Ah voi condur volete,” when Rashleigh is joined onstage by orchestra member Jasper Ly on cor anglais. Ly presents himself with the swagger of a fully-fledged member of the Rat Pack.

Tenor Shanul Sharma made a slightly tentative beginning on opening night as heroic, if rather deceitful, Florville but very soon found surer footing, producing lovely high notes and blending beautifully with Rashleigh.

Forever moaning about the heat, Signor Bruschino Snr is the buffoon-like comic foil of the opera. Bruce Raggatt proves highly adept at enunciating Rossini’s rapid-fire patter, singing at an impressively crisp pace while maintaining his waning character.

Handsome bass Matt Thomas may be a little young to play Gaudienzo, father of Sofia, but this quibble is soon forgotten given his roguish stage presence and smooth liquid bass voice. The final duet, in which Gaudienzo “convinces” his daughter to marry Florville, features Thomas and Rashleigh at their best.

In a piece of luxury casting, Raphael Wong sings café owner Filiberto with gorgeous legato phrasing and sweet unwavering tone.

Give the number of opera lovers in Melbourne there should not be so much as a spare ticket available for Il Signor Bruschino. The brisk 75-minute piece is great value entertainment.

Il Signor Bruschino plays selected dates at Chapel off Chapel, Melbourne until Sunday 12 June 2016.

Photos: Kris Washusen

The Melbourne return of Stephen Baynes’ Swan Lake is distinguished by absolutely superb lead performances from two of The Australian Ballet’s most loved Principal Artists.

Four years after its premiere, the production remains in pristine condition, with Hugh Colman’s grand, yet tastefully understated designs framing and supporting the dance without ever threatening to overpower it.

2012 lead pair Amber Scott and Adam Bull return to their roles with even greater depth of feeling and more finely finessed dancing in the iconic roles of Odette/Odile and Prince Siegfried. Still in their physical prime yet bearing the emotional intelligence that comes with maturity and extensive experience, the sensational work from the pair earned an all too rare standing ovation on opening night.

Finally donning a Prince’s tights again, the sight of Bull taking the lead in Melbourne is a welcome one indeed. Expertly conveying the full range of psychological overtones of Baynes’ staging, Bull owns the stage as he moves from the Prince’s melancholic dissatisfaction at his own birthday, through to his sheer delight at discovering Odette, on to his instant attraction to temptress Odile, concluding with the overwhelming sorrow that drives his final action. Keeping his early dancing muted and grounded, Bull’s tightly controlled explosion of energy in the Prince’s ecstatic act three solos is an incredibly thrilling sight.

Scott successfully creates two distinct characters, contrasting the timid fragility of Odette with the brazen sexual energy of Odile. Where Odile dances with languid fluidity, including sinuous representation of swan wings, Odette exudes dazzling flair.

While all of Bull and Scott’s solo and pas de deux work is first rate, the warmest applause and loudest cheers come for the central pas de deux in act two. Beginning with raw tension as notes are plucked slowly on the harp, the pair allows their characters’ repressed desire to gradually pour out as it is expressed through exquisite dance.

It is interesting to view the tale of Swan Lake in the context of the smash hit 2016 miniseries adaptation of War and Peace. Created within little over a decade of each other, the stories inhabit the same world of princes and palaces, marital and military glory. Baynes’ storytelling fills the scenes with living characters of all rank and stature, from princesses to peasants.

Majestically filling the State Theatre stage, Colman’s designs capture elegant old world grandeur while possessing a fresh, modern appeal. In act three’s great ball, the vivid purples and reds of the Cossacks and Spanish dancers stand out boldly against the dusky pinks and mauves and mossy greens of the corps de ballet. Odile’s black tutu seems adorned with the ominous silky thread of a spider web.

Rachel Burke’s lighting design covers scene transitions in inky blackness, allowing new elements to emerge as if by magic. Domenico Bartolo’s animated projections are used judiciously to suggest the arrival of the swan that becomes Odile then the flock that becomes the swan maidens.

Having worked with a great many of the world’s top ballet companies, visiting conductor Andrew Mogrelia makes a most auspicious guest appearance at the conductor’s podium. Mogrelia’s leadership of Orchestra Victoria is confidently assured, demonstrating clear familiarity with the tempi required for the choreography in this space.

The two balls feature wonderful work from the Prince’s trio of close friends. Dancing with carefree joy, in clear contrast to the despondent prince, Cristiano Martino beams with youthful fervour as Benno. Fast rising star Benedicte Bemet sports a glamorous Audrey Hepburn look as the Duchess, and Sharni Spencer is just as delightful as the Countess. Working closely with corps and Bull, this trio are chiefly responsible for making the dances appear fresh and spontaneous rather than looking like contrived divertissements.

The quality of the stunning contribution of the corps de ballet cannot be overstated. Dancing at the balls is wonderful, but it is the swan maidens who are truly mesmerising as they move in undulating waves as if propelled by an unseen spontaneous force.

Dancing the famous Cygnet quartet are Sarah Thompson, Eloise Fryer, Dimity Azoury and Jill Ogai, their deliciously precise work over all too soon.

Terese Power amuses in a charming cameo as Siegfried’s Nurse.

Grab the opportunity without hesitation if a ticket miraculously happens to come your way.

Swan Lake plays at State Theatre, Arts Centre Melbourne until 18 June 2016.

Photos: Daniel Boud

Veteran stage director John Bell helms an emotionally taut new production of Carmen, contrasting the savage drama with the gaudy frivolity of everyday life. This premiere season is set apart by an extraordinary pair of lead performances from French soprano Clémentine Margaine and South Korean tenor Yonghoon Lee.

In his Director’s Note, thoughtfully included on the back of the cast sheet, Bell outlines his choice of present day Havana: “…a likely corrupt environment for the military and the underworld to rub shoulders with those involved in sporting rackets.” Wheeled luggage and iPhones are among the handful of deliberately jarring elements that connect the audience to this secluded locale, a place where sexist stereotypes are still the accepted norm and superstition abounds.

There is a strong sense of the qualities of music theatre about this production, an aspect that is sure to make the opera even more accessible to audiences of all backgrounds. Like the merry townsfolk of a golden age musical, the chorus comes and goes from set designer Michael Scott-Mitchell’s arid, crumbling village square. Teresa Negroponte dresses the bustling crowds in a vivid array of sunny oranges, purples and greens. Even the military fatigues come in several shades of camouflage chic.

Representing Lillas Pastia’s tavern as a well-populated street-food van for hungry night clubbers makes for a lively second act. In act three, however, the clandestine nature of the smugglers’ den is significantly undermined by the presence of the full chorus still in their vividly coloured clubbing gear. Finally, the chorus changes to appropriately festive daywear as they cheer the parade of toreadors processing to the bullfight.

Presenting the unfolding psychological drama in the midst of such constant merriment ratchets up the tension. Bell charts Don José’s downfall in clear, believable strokes, continuously showing the effect of Carmen’s hypnotic sexuality on all characters. The diagonal downstage steps provide a highly theatrical setting for most of the key scenes, helping the performers to form strong connections between their characters and the audience. In particular, the half dozen supporting characters are established with exceptional clarity.

In a neatly realised touch, Bell, Negroponte and choreographer Kelley Abbey link the feisty boys of the children’s chorus to the playful Romeos of the adult male chorus. Four boy dancers enhance the children’s scenes with spirited street dancing. Abbey’s invaluable input also includes featured moments for the set of adult dancers.

Despite Milijana Nikolic’s seductive image being seen on flags, posters and flyers around Sydney, the leading lady for the first part of the season is guest artist Margaine, whose Carmen has been performed on many of the world’s top opera stages. Being French, Margaine’s expression and diction in the role are, naturally, wonderful. A luscious voice of liquid gold pours forth with seemingly very little effort, filling the space with glorious sound. Free of the traditional gypsy-like caricature, Margaine makes Carmen a real, if highly sexually charged, person, her magnetism spellbinding the audience just as it affects the characters on stage.

Nominated this week for a Helpmann Award, Lee’s third Sydney engagement is his most enthralling yet. Masterfully controlling his powerful voice, Lee performs with a thrilling intensity that clearly demonstrates why his star is rising so quickly on the world opera scene. A handsomely attractive man with a noble spiritual presence, Lee’s commitment and skill in portraying Don José’s fall from grace results in compelling tension; the audience can see the coming tragedy while the ebullient stage characters remain oblivious

While José’s Flower Aria, “La fleur que tu m’avais jetée” can sound exquisite with pianissimo phrases, Lee’s rendition is anchored by a steely power that makes it all the more exciting. Carmen’s manipulatively scornful response, “So you don’t love me?” is crushingly disappointing to José, sealing the pair’s ultimate fate.

Soprano Natalie Aroyan successfully portrays the wide-eyed innocence of winsome young Micaëla, singing the role with nicely understated confidence and a lovely pure tone. Micaëla and José’s act one duet “Parle-moi de ma mère!” is so lushly romantic that a man and woman sitting three rows ahead were seen embracing at its conclusion. The tender joy that José could have known with Micaëla makes his wild-headed passion for Carmen all the more heartbreaking.

A host of talented Australian singers are distinctive and engaging in the supporting roles.

Michael Honeyman’s initial appearance as Escamillo is hampered not just by his glossy red magician’s suit, but because Bell’s construction of the central story is so involving that Escamillo’s act two entrance, singing the celebrated Toreador’s Song, is, for once, an unwelcome distraction. Honeyman is in fine voice, and his subsequent scenes are more successful. Escamillo’s final costume, a black lace-trimmed emerald green bolero jacket over black vest and pants, is one of the smartest of the night.

Charismatic bass Adrian Tamburini brings an exciting presence to the often under-appreciated role of military leader Zuniga, singing with commanding focus and power. Baritone Christopher Hillier provides a contrast with the more grounded character of fellow member of the militia, Moralès.

Jane Ede and American mezzo-soprano Margaret Trubiano give animated performances as Carmen’s friends Frasquita and Mercédès, tottering precariously in high heels and short nightclub dresses. The pair ably supports Margaine’s exceptionally precise work in the Card Trio, “Melons! Coupons!”.

Kanen Breen and Luke Gabbedy complete the quality casting as flashy smugglers Remendado and Dancairo. The pair joins Margaine, Ede and Trubiano in a nimble, entertaining rendition of brisk act three quintet “Nous avons en tete una affaire.”

One of the world’s most popular and familiar operas, this new production of Carmen is essential viewing for all operagoers, and the music theatre vibe brings an extra level of accessibility to newcomers. While we all pray that Opera Australia will be able to secure Yonghoon Lee’s services again, in the meantime his performance here is unmissable.

Carmen plays selected dates at Joan Sutherland Theatre, Sydney Opera House until 12 August 2016.

Photos: Keith Saunders

Immaculately cast and splendidly produced by Sydney Theatre Company, Arthur Miller’s searing family drama All My Sons bears ongoing relevance.

After heavy overnight winds bring down the memorial tree for the Keller’s beloved MIA son Larry, the secrets and lies at the heart of his disappearance tumble out as events march inexorably to their tragic conclusion. Miller’s brisk exposition is masterfully unforced and extremely intriguing.

Some featherlight comedy establishes the lay of the land in the well-to-do suburban neighbourhood before the sins of the past unfurl. Miller’s gift to the cast and director of this, and every, revival is the intensity and frequency of the bitter confrontations and recriminations that transpire as the drama escalates.

Blessed with a superb cast of actors, director Kip Williams has clearly explored the layers of guilt and blame that eat away at the central characters. A play in which each character staunchly believes they are right, the lack of obvious heroes or villains makes the action all the more thought-provoking.

Designer Alice Babidge contributes a unique combination of natural period costumes and stylised, representative scenery. The mysteries of the Keller family are represented by the massive black wall of the front of their home, in which little square windows gradually allow more to be seen as the play progresses. Intricate 1940s details in the costumes are impressive, and the women’s wigs are immaculately coiffured.

Living treasure Robyn Nevin eschews any sentimentality as nervy but shrewd wife and mother Kate Keller, who seems to exist on her one last remaining nerve.

Veteran actor John Howard conveys the gnawing tension lying only just below the surface of the veneer of Joe Keller’s American Dream life.

Chris Ryan sports the crisp curls and athletic frame of a young man of the 1940s as the Keller’s surviving son, Chris. Ryan has leading man good looks and yet is building a solid repertoire of richly drawn character roles. Ryan more than holds his own opposite Nevin and Howard, unflinching as he lands many of the most painful moments.

As Larry’s sweetheart Ann Deever, Eryn Jean Norvill conveys the vulnerable, dependent nature of a young woman in the 1940s. The stakes are raised when Ann’s bitter brother George arrives in act two, fresh from visiting their father in prison. Josh McConville convincingly plays George’s susceptible, vacillating nature.

Bert LaBonte and Anita Hegh are luxury casting as squabbling new neighbours Dr Jim and Mrs Sue Bayliss.

Perky young actor Toby Challenor adds a spark of energy in his two scenes as innocently imaginative neighbourhood child Bert.

Not a play to just sit back and admire, All My Sons is arresting, provocative dram. Allow time afterwards for the muscles along your backbone to relax back to normal.

All My Sons plays at Roslyn Packer Theatre, Sydney until 9 July 2016.

Photos: Zan Wimberley