Anchored by an exceptionally starry and talented cast, imaginatively conceived Australian musical Midnight finally arrives on stage for its keenly awaited World Premiere. Sturdily produced, Midnight has a warm, family-friendly ambience and a hearty entertainment value that is sure to be sharpened with judicious editing as its well deserved life proceeds.
Extending the frequently adapted tale by adding a meatier first half, Midnight gives Ella (Brianna Bishop) and Prince (Thomas McGuane) a backstory stretching back to their first marketplace collision as lively eight-year-olds. Avoiding the simplicity of love-at-first-waltz, the longer romance establishes a real connection. Forthright Ella has time to open Prince’s eyes to the needs of the people, and she has the chance to overcomes her inherent mistrust of the royal family to see Prince for the man he really is.
Aligning with many a Disney animated movie, the story begins with the death of a parent, and Ella and her Father (Raphael Wong) are soon ensconced with the seemingly pleasant Madame Bellington (Verity Hunt-Ballard) and her two daughters (Melanie Bird and Kristie Nguy). Mysterious Ms Madrina (Lucy Durack) appears as Fairy Godmother, sprinkling her magic on Ella’s beloved teddy bear Mr Abernathy (Matt Lee). Further additions include a bigger role for The King (Shane Jacobson), a sidekick for Prince named Andre (Lee), and a villainous Russian Emperor (Lyall Brooks).
Midnight unfolds as ten-year-old Stella reads herself a bedtime story. On opening night, Stella was very confidently played by gracious young actress Isobel Lauber, who shares the role with Alberta Brudan, Liv Jacobson, and Elisha Villa.
Delivering a rich Alan Menken style of theatrical music, composer-lyricists John Foreman and Anthony Costanzo have penned a lush score filled with readily hummable songs. Additional music and lyrics are credited to Kate Miller-Heidke. Orchestrations by musical director Anthony Barnhill really allow the songs to be heard at their best. The lush music seems to be played by more than the seven musicians in the orchestra pit (yes, an actual orchestra pit – remember those?).
Musical numbers range from recurring I Wish song “Why Can’t I?” to charm songs “Quick on Your Feet” for the sisters and “Best Dressed” as the act two opener. Act one showstopper “Being the King” is later topped by “Stuffed!”, sung and danced by living teddy bear Mr Abernathy and friends.
The book for Midnight is by Dean Murphy and Pip Mushin, both also serving as director. The pair has ensured that energy and verve are at a premium throughout the entire cast. Some of the faux-European accents are an odd choice but the delineation of colourful characters is very well established.
While the overarching concept for the book is clever, it is unusual not to see a modern day sensibility worked into the story. At 165 minutes (including 20 minute interval), the show is too long. There appears to be more work to be done in pruning scenes and developing a stronger through-line of tension and connection.
Creation of the book has not facilitated storytelling through music and so the show frequently stops for the songs. And then the songs stop for the dancing, which is sharply choreographed by Kelly Aykers but makes no contribution to character or plot.
Set design by James Browne is on an impressive scale, and transitions between the many scenes are smoothly and efficiently staged. Economical costume design by Harriet Oxley incorporates less changes than might normally be seen but plenty of glossy fabric and some standout designs, such as Ella’s elegant slimline ball gown. The detailed lightning design by Trudy Dalgleish completes the polish of the overall stage picture.
Leading lady Brianna Bishop gives a winning breakout performance as Ella. Confident and yet somehow also endearingly vulnerable, Bishop makes a memorable impression as she soars through her scenes and songs.
With traditional matinee idol looks, Thomas McGuane is the ideal leading man. The Prince also greatly benefits from McGuane’s dreamy vocals.
In dual roles, Lucy Durack particularly shines in act two when Ms Madrina weaves her magic.
Verity Hunt-Ballard hits her strides when malevolent Madame Bellington lets her true dark colours show.
As The King, Shane Jacobson gives a crowd-pleasing performance, the highlight coming in amusing showstopper “Being The King.”
Matt Lee is adorably daffy as sidekick Andre and brings down the house as tap dancing bear Mr Abernathy (featuring tap choreography by Lee himself).
For a twist, only one of the stepsisters is selfish and cruel. Melanie Bird relishes the wickedness of self-centred Tiffany Bellington, while Kristie Nguy, in a highly auspicious professional musical theatre debut, is a delight as kind-hearted Rosalie Bellington.
Raphael Wong is a solid presence as Father, although the chance to hear more of his powerful singing voice would have been appreciated.
Every member of the ensemble gives peak energy throughout the entire show. Powerhouse company vocals are a pleasure to hear and the well rehearsed choreography is tightly performed.
New musicals written and developed entirely in Australia are a rare sight indeed. Helmed by producers Spencer McLaren, Craig Donnell, and Dean Murphy, the sheer scale of production Midnight is a mighty achievement. Lovers of musical theatre will be keen to support the show and to enjoy the performances of the much-loved lead performers.
Midnight plays at Comedy Theatre, Melbourne. For tickets, click here.
Photos: Pia Johnson