Motown - Lunt Fontanne Theater, Broadway July 31st 2014

Motown -Lunt Fontanne Theater,  Broadway  Thursday July 31st 2014

"Motown" the musical is a classical juke box musical that celebrates the history of  Motown Records and the stars that were developed, rejected and fostered through this iconic Record Company.

It was a fun night at the theatre and had many hit songs to create the journey of the "Motown Records."  The staging is simple and very effective that creates a visual treat by using curtains and tabs to adjust the size of the viewing area.

Our focus is admirably directed on most occasions to the Charles Randolph-Wright.  He has directed a fairly tight show that has about five transitions that slow down the action by only a few seconds each time.  But in this "Me"Generation of "Selfies" that few seconds takes away from a few masturbatory swipes of your phone to check your latest message.  With a little picking up on queues and entrances this would alleviate these holes.  I was watching the audience during these few seconds and they were chaffing at the bit for the show to move forward.

Most of the lighting was brilliant to create a sense of space and time.  Though a few transitions seemed not to flow as smoothly as I would have liked.  For example one entrance of Mary Wells stage right could have been lit more effectively to make this a  more magical moment.  She seemed to walk into a dead space and then the lights came on.

I love seeing a show after is has been run in to really test to see if it is giving the public value.  Yes this show does gives exceptional bang for your buck with enthusiasm, entertainment and a history.  My partner and myself both gave it 7.5/10 and our friend was amazed that we both said this rating simultaneously without consultation.

The sets were amazingly simple and very effective.  The sets moved with precision and no hiccups. They were mainly consisting of curtains or pillars on tracks to create various size picture frames.  I loved how the director shifted our focus smoothly from left to right to allow for changes and keep the story moving forward.

Most of the singing was good.  Though three ensemble numbers had some very rough, flat harmonies. You could tell that some of the cast were trying to maintain their pitch true to the orchestral arrangement.

Choreographically "Motown" honoured the era.  Patricia Wiclcox and Warren Adams brought to life many of the dance styles of the era.  The choreography and staging also recreated some iconic musically historical moments with signature accuracy to take us back to those times.

The video montages of JFK,  Martin Luther King, Vietnam War etc brought back many memories from my childhood. This musical honoured these major events in a succinct manner and assisted in recreating the era and moving the story forward in an honest and non-didactic way.

Costumes by Esosa were brilliantly realised and captured the key moments in "Motown's" history.
The lavish costumes for the women would make any drag queen envious.  The large red cape for Diana Ross was superb.  I think I was more impressed with the logistical onstage dressing and teamwork and the instant reveal of this red cape falling into place than the actual cape.  I still revel in the magnificent timing to surprise us with this costume change.

Hair and wigs by Charles G. LaPointe reflected the era well.  hough a few of the wigs could have been closely fitted in some of the costume changes.  Seeing the hairline on two characters shows how tight some costume changes can be.

I loved Marvin Gaye played by Bryan Terrell Clark for his strength and passion for his vision.  Diana Ross played by Krystal Joy-Brown recreated iconic moments in history with predicable realism but more importantly with purity of voice and spirit.  Berry Gordy was played with courage and honesty by Josh Tower.  He was focused and determined and lost insight of his relationships.

I guess acquiring the rights to some of the Motown catalogue of songs may have been a challenge as some important and memorable songs were not featured or even mentioned.  My eldest brother introduced me to so many of these performers and it was a revelation for white people from down under.  But Australians are very accepting and adored the Motown label.  Some songs missing influenced and compromises the book. as it seems bit stilted at times rather than flowing.

I did enjoy the show and my partner felt that there were major songs which seem to be missing as was the way with "The Adventures of Priscilla Queen of the Desert" that could not use the ABBA material.  (Though that film really cemented ABBA into stone with the use of their music in the film.  I guess it allowed them to create "Mama Mia" the musical.)

Overall I would recommend the show but for the price I think it is a bit steep at $105 a ticket.  It is worth about $60 - $80 to see as it has been running a while now.

Brigadoon Goodman Theatre Chicago July 25 2014

Brigadoon - Goodman Theatre Chicago  Friday July 25 2014

Goodman Theatre Chicago

This newly revised version of "Brigadoon" by the Goodman Theater of Chicago with direction and choreography by Rachel Rockwell has more magnificent moments than misses.  With some fine tuning this will be a brilliant production with a revised and more logical book by Brian Hill.

Pre show welcome:

Firstly, theatre is an event and the Goodman Theater of Chicago does this in style.  Their theatre is a testament to the legacy of the Great Chicago Fire 1871 and the rebuilding of Chicago.  The foyers (translation "Lobbies") are spacious and welcoming.  This is more appealing than the queuing up on the streets of New York. I presume the weather had a major influence in the design of the large foyers  to encourage people to take comfort from the cold winters.

Secondly, the theatre itself has a lovely rich acoustic sound for musicals.  The views from the seats appear without any obstructions.  The stage is wide and the seats do not pass by the sides to restrict viewing - unlike other theatres.

Thirdly, the pricing of tickets is very reasonable and with sensational views of the whole stage!  Not like some theatres where you get either an impeded view or a restricted view of the up-stage corners. If you cannot see into either of the upper back stage areas then ticket prices should be reduced to at least B or C Reserve!

Fourthly, the souvenir and book stand has very reasonable prices.  Do take the opportunity to stock up on those magnets for souvenirs for your friends, family and self.  Because of this I purchased more, unlike other venues where you may not even buy a single item.  Think of the Getty Museum in LA that has a similar pricing policy to encourage further purchases.

Then there is the performance and finally the foyers again to allow you to mingle and savour your experience.  John Truscott had a similar vision when he designed the interiors of the Arts Centre Melbourne to create this holistic experience.  (Interestingly John Truscott won two Oscars for "Camelot" which is also by Lerner and Lowe.)

I normally do not focus on the above so much and feel it requires acknowledgement for creating such a fantastic experience in theatre attendance.

Pre show talk:

I was fortunate to be able to attend a pre show talk on Friday July 25th by the dramaturge Neena Arndt.  She gave a comprehensive talk about the history of "Brigadoon" and contextualised the reasons for the original impetus for writing and for these revised changes.  Neena also explained the old versus new version changes without giving the story away.  She skilfully answered my questions, as I was not going to miss the opportunity to share this experience with friends from Australia who had been in the original cast.

Background information:

For those who have not read my reviews before I do not retell the story.

"Brigadoon" is a classical musical in my eyes.  I have always adored it and was not disappointed.  I have seen it at least twice and the film at least a dozen times.  To give context to my comments I have seen a version with a cast of about 40 plus in 1969 by Cheltenham Light Opera Company (now CLOC) and another superb  version by Whitehorse Musical Theatre in 1995.

Review:

"Brigadoon" was a fore-runner and may finally receive its recognition for it paved the way for other musicals with a theme of choice, think "If/Then" or the movie "Sliding Doors'.

The era when "Brigadoon" was written was after World War Two and people needed entertainment and hope.  This musical provided both with a very serious message about how choices can determine our destiny.  Whether these choices are personal, a clan or a country's choices.  This revised version is timely in these times that I call the "Thawing War".  The "Cold War" should be renamed the "Frozen War" and we have just had various temperatures in between.  "Brigadoon" is an idealised heaven for some and hell for the character Harry.

"Brigadoon" also paved the way for "West Side Story" with the song of hope "Somewhere."  People need hope and a dream and something to aspire to or for.

Consider too the era post World War Two: when soldiers returned with no counselling and to be told "to just get on with it."  This historical context makes sense with Tommy Albright's behaviour, played by Kevin Early.  He has an exquisitely rich baritone voice, and is classically handsome for this role.  Though more on him later.

The opening is a scene of the Scottish hills behind a curtain of "vertical strands" curtain. I think these are called "Ball French Curtains" and look like a glamorous fly screen.  This curtain will be used effectively throughout the show to change the mood and location.

Tommy Albright played by Kevin Earley and Jeff Douglas played Rod Thomas.  They are lost and use a simple set to establish the mood of the musical in this prologue.  Tommy appears to be more passive agressive and mentally unsettled than in other productions.  This makes sense as he has returned from the war.

The setting is made up of a hessian silohuette in triangular shapes to cleverly create the highlands of Scotland.  I then realised that it was not a backdrop but this clever image that was peeking through the curtains to welcome us into the theatre.  The designs are very minimalist and remind me of the effective minimalism of Lincoln Centre's "South Pacific".

The musical improves dramatically and it is the ensemble opening that I think needs the some fine tuning.

The first ensemble number "Brigadoon" is beautiful choral and melodic.   We hear them but do not see them.

This opening sequence "Vendor Calls/Down in MacConnachy Square" fitted the bill but looked empty.  It either needs an extra four to six people to fill the space, or more movement or some more of the hessian scenery to create the silhouettes of triangular roofs of houses etc.  I thought there was too much empty space and it was too flat to create the impression of the hills.  Maybe they could use members of the orchestra as they do in later sections to fill the space.

 I loved the Scottish accents in the singing though these could be consistent maintained by some actors throughout the entire duration of the show.

The lighting of this sequence was too much a blanket of light and highlighted the voids of space.  There needed to be some light and shade to create more atmosphere of a mythical Scottish highland village.

The actors need to be really engaged in the activity at the market stalls.  It seemed a bit twee at times with their relationships and encounters with customers or neighbours.  There needed to be a real connection to heighten the atmosphere.

The costumes immediately stood out as too perfect for the 1746 era.  There needed to be a bit of wear for the market holders and the customers.  The costumes are beautifully made but look too nice.  They need to be more lived in to show the differences between the types of characters.

"Waiting for My Dearie" showcases the magnificent and pure voice of Jennie Sophia who embraces the role of Fiona MacLaren.  It is great to see the ensemble of ladies creating an feminine and genteel   atmosphere of anticipation.

"I'll Go Home with Bonnie Jean"  highlighted Charlie Dalrymple played by Jordan Brown's skill as a triple threat. He has a lovely voice and a charismatic charm for this role. He is excited as he is to be married and shares his enthusiasm with the local villagers.  There is a robust and buoyant atmosphere created here by the ensemble.

"The Heather on the Hill"  is the first duet between Tommy and Fiona.  The singing is harmonic and beautiful.  Though I feel that more space and pauses to elongate their moves between their relationship will build requisite tension. At times it seemed too rushed for Fiona to get away from Tommy.  We did not have time to really revel in their developing relationship..  It was not 1946 but 2014 Facebook "check a message and run scenario."

The iconic moment of their realisation of mutual affection is the basket sequence when they both hold the basket down stage right.  This reminded me of John Cranko's famous heart shape love pose from "Romeo and Juliet" premiered by Stuggart Ballet.  I would love to know if this was choreographed intentionally to pay homage to John Cranko or was it a pure accident?

The singing by Tommy of this famous song started too loud for my liking.  I think it should have been more cautiously approached by Tommy as it was 1946 in his time.  The opening lyrics explain why it should be more a question than a demand.

"Love of My Life" focuses on the lusty Meg Brockie.  If you had waited for a hundred years, I guess you too may be a bit frisky.  Meg was played with sheer bounce, verve and lust by Maggie Portman.  Very eager and assertive in her attentions to Jeff Douglas played by Rod Thomas.  The pair work together to create a fun number than drives their story forward.  I would have liked to see more lighting to differentiate the location of space inside and outside.  Both have consistent accents and are self assured in their characterisations.

"Jeannie's Packing Up" is the ladies ensemble number that has a lovely feminine ritualistic atmosphere.  The cast of ladies support the bride to be -Jean MacLaren played with confidence by Olivia Renteria.  Her solo with the bridal veil is magnificently pure and poignant and the choreography pays homage to Agnes De Mille.

"Come to Me, Bend to Me" sung by Charlie Dalrymple is beautifully realised by Jordan Brown. The pas de deux where Jean covers his eyes is romantically appropriate and again drives the story forward without being a "filler" dance.

Fiona's father, Andrew MacLaren played by Craig Spidle tries to oversee the farewell between Fiona and Tommy. He plays his paternal role with Scottish assurance and confidence and great timing.

The farewell kiss is seen by Jean and where she stands does not look realistic from an audience's perspective.  She needs to be in the appropriate line of vision rather than a "cheated cinematic mark" position.  I did not believe that she could see the kiss from that angle.  A minor adjustment will correct this important moment.

"Almost Like Being in Love" was beautifully sang and was at the right level.  Though it would have seemed more impressive had "Heather in the Hill" been restrained a little more.

"The Entrance of the Clans" is a memorable moment that I will savour for many years to come.  This neatly choreographed section includes two bagpipe players.  Apparently this is the first time this has happened in the USA.  We were fortunate to have bagpipe players in each of the productions that I saw in Australia.

This was a celebration and we were introduced to the tartan kilts and traditional outfits befitting a wedding.  The costumes are exquisitely perfect but need to show they have been worn, cherished and stored for such a memorable occasion.  The tartans were a bit too cartoon or cliche in their purity. They need the occasional patch, darn or dirt to show some 1746 non-Westinghouse machine-washed costume, but a realistic replica of the era.

The "Wedding Ceremony/Dance" was brilliant staged and executed to bring a lump to my throat.  The passion of Charlie to naive confirm if he was now married brought a measured poignancy to the scene.

The celebratory ensemble dance is easily a highlight of this production with such talented dancers to honour the legacy of Agnes De Mille and the traditions of Scottish folk dance.  The enchainments and group patterns were with a traditional vein.  The great thing was that many danced well but also some danced better which demonstrated a social realism to the celebratory dance.

The ensemble created a wonderful atmosphere to support the wedding festivities.

The highlight for the whole show was the performance of Harry Beaton who provided a menacing objective of revenge, jealousy and anger throughout.  His unwavering determination and desperation was exhibited by his brilliant display of his Highland fling and his sword dance.  His "cutting the air" demonstrated sharp, crisp and definite lines with a ballon that showed mastery of his elevation.

The supporting dancers were impressive with their sharp moves.  I loved the suspension created in the top of their leaps to create a photographic image of their technical and physical prowess as Scottish dancers in celebratory mode.

What I loved was that the dancers were in unison but more importantly showed that some dancers are better than others within their clan.  It created a lovely honest realism to the choreography compared to the traditional "kick line" whereby precision is paramount.

The finale to Act One left us with a bad taste in our mouths and made us wet our appetite to quench our thirst at interval.  This cliff hanger encourages the audience to talk about the journey of various characters and allow us to empathise with our personal favourite.  Not a down-beat finish to Act One but more an enticement to continue to drive the story forward.

Act Two opens with "The Chase".  This is brilliantly realised with the clever use of the curtains that paid homage to the original "A Little Night Music" and to "Into The Woods" with the trees.  The lighting by Aaron Spivey finally brings to light what is possible with lighting design to create a mood.  The projection design by Shawn Sagady is haunting, mysterious and menacing.  This opening sequence resonates the desperation of Harry and the fear of the villagers that their miracle will end if Harry leaves Brigadoon.

The subsequent actions lead us to the poignant "My Mother's Wedding/Dance" by Meg Brockie and the ensemble.

The "Funeral Dance" by Maggie Anderson played by Katie Speilman is another brilliant moment with pure emotional response via dance.  The dance and choreography pays honourable homage to both Agnes De Mille and Martha Graham.. The convulsive contractions are visceral and palpable.  Her backward falls are sheer desperation and heartfelt.  This is pure dance that drives the emotion of the story forward and allows us time to reflect upon her grief.

"From this Day On" sung by Fiona gives us further insight into her character and her journey. Sung with purity and honesty.

We are back in New York and the setting is a scrim curtain with a projection reminiscent of the colour scheme and design of the Mandalay Bay Casino ceiling.  Tommy is distracted at his dinner/rehearsal for his wedding.  He hears Fiona and his heart pines for her.

The order of "There But For You Go I" is more logically placed here with precision with the newly revised book by Brian Hill.  Here we hear Tommy quite rightly determine his future and resolve decisively to return to Brigadoon ( if he can find it.)  His passion is determined and paced accordingly.  This moment would have been more passionate had "The Heather on the Hill" been less robust as we would have seen a more of a roller coaster of angst from Tommy.

The finale is well paced though the lighting for Fiona's entrance could have been a bit more alluring and build to create a majestic sweep of light.  It gives us hope in these times that are still torn with unrest.

I loved the production and welcome its development to enhance the atmospheres to bring this musical to its just position as a major work as Brigadoon has inspired many other famous shows.   I guess so underrated that a famous song was copied for another major musical!

A beautiful and underrated musical that deserves to be recognised for its place in musical theatre history for inspiring other musicals that had songs of hope - think "Somewhere" from "West Side Story" and the musical about choice currently playing on Broadway "If/Then'.  This musical was the fore-runner for a musical about choice and was way ahead of its time.  People in 1946 did not think about their choices as we have a vast range of choices today.

My choice is this show is a winner and has legs!

The Qualms - Steppenwolf Wednesday 23 July 2014

The Qualms - Steppenwolf, Chicago, IL. 23 July 2014

 23 July 2014

Tonight we were fortunate to see a performance by this iconic theatre company - Steppenwolf Theatre Company in their beautiful home base in Chicago.

"The Qualms" is by Steppenwolf Ensemble Member, Bruce Norris and is a three act play in one uninterrupted sequence.  No interval disturbs the three very clear acts within this dramatic comedy brilliantly directed by Pam MacKinnon.  She allows these actors to bring to life some moral dilemnas  about relationships, sexuality and respect.

This play touches on many topics related to monogamy and polygamy.  There are branches related to porn, homosexuality, and prostitution.  They provide stimuli for us to ponder.  The thought provoking questions are more relevant than the answers.

The Melbourne Theatre Company should be chaffing at the bit for this play as it suits their data base and will encourage newcomers due to its voyeuristic nature.  I do not want to give too much away as the sex is central to this story, but it is more about the politics of sex.  I can see much "tut tutting" by some of the MTC audiences.  But secretly I can also see their fantasies fulfilled.

The play is about a "Swinger" party.  The rules were read out etc and it was obvious that this is a regular event for many attendees.  But not tonight!  The drama unfolds.

These are adults playing supposedly adult themed games.  These are adults with their big toys and exotic games.  How is it any different to children role playing doctors and nurses etc? A loss of innocence or the knowledge that the games are no longer innocent?  Many questions are posed and not resolved.  This does not bother me, as it allows us to question ourselves and what is repsect for self and others.

This play is well written for the drama and especially the comedy which is needed to make the dramatic relationships more potent.  From the opening when the house lights rose to reveal two couples separated as is the new couple are caged inside by the regular "Swingers" - the hosts for the evening's "Play Time" party.

What  I especially loved about this opening five seconds was that the drama was evident in the opening pose.  There was so much history and atmosphere created by these skilled actors to welcome us into their "sordid" journey for the evening.

We are the voyeurs!  Our fantasies can now be tickled.  It was interesting to see the audience's reaction to the play.  Some of the audience members would mimic the actions of the actors by "protecting" their partner by surrounding them with their arms. It was interesting to hear and see the audience's reaction as some of the jokes and drama were very revealing.  Steppenwolf also provided a wall for feedback and post-it-notes comments.  This created a great opportunity for audience members to provide their insights into the play's messages and themes.

I was shocked at the lack of swearing and the restraint of the use of the "F" word.  Its absence made it more effective, relevant and enticing. The lack of discussion about detailed sexual acts also made it more voyeuristic.  This really spurred our curiosity.

The section about the Democrats and Republicans is a two sided reflection.  I think some people think it is very "Democrat" behaviour, and the more liberal and free thinking are more willing to be "swingers".  I loved how some characters moved away from the Republican lepers.  Yes they showed us an example of a democracy at work, but even more so I liked  this moment as it really showed about the lack of respect for both sides of politics and also sexual politics.

The statistics section and the look into the audience was where the fourth wall was really broken and was a moment for seduction by the cast.  It was a great reality check for people to be given a shake up about their either bigoted or free spirited natures. This section reminded me of "Bison" where the actors were looking at the audience seductively as if in a gay beat and creating a personal bond with the audience.

What I loved was watching the actors listen.  Really listen to each other.  They did real actions.  They were these characters and their objectives were clear about what they wanted to do in their action sequences.  Stillness was an action that had so much movement.  For example the realisation of a rejection was palpable.  The twists and turns by Regine played by Karen Aldridge created another level of drama that showed a real tenderness and heart.  As did the journey of Deb (a Ruben-esque lady) played with sincerity by Kirsten Fitzgerald.

Gary the host played by Keith Kupferer in a care free manner.  This was his house and his domain that he was happy to share.  His partner Teri played by Kate Arrington had a hippy quality that reminded me should could be straight out of  "Hair".  I loved how she kept the drug induced effects in her performance.  I did feel this was one aspect that the other actors may have used as well as by Teri towards the end of the play.

Diane Davis played Kristy, the wife of Chris played by Greg Stuhr.  This couple have their issues and these fine actors showed us their history from the first five seconds sitting uncomfortably centred on the couch.  Their relationship is central to the story.  The revelations about their attitudes creates tension and allows more drama and comedic opportunities.

Their journey is a drama within this dramatic comedy or comedic drama.  I call it a modern tragi-comedy. The tragedy is people not realising their potential in life.  This play is more than about the threesomes, foursomes, partner swapping scenarios.  Verbatim or oral sexium!

The questions of relationships, morals, choices, values and lifestyles is paramount to this play.  But the essence to me is about our own life and taking control of what makes us happy.  We cannot project our happiness on others.  Control is central to this play and the control shifts between different characters at various points.  This control can be within the individual couples or within the core eight characters.

The tall, handsome athletic black man, Ken was played with sensitivity and strength by Paul Oakley Stovall.  Do watch the kitchen scene closely.  Some MTC audience members will require an explanation.  I can hear the titters now!

Roger played by David Pasquesi was your equivalent to a classic Aussie stirrer.  He at times was a black cloud with his confident and laid back confrontations.  He obviously knows how to wind some people up.  His character was articulate and self assured.

Owasis Ahmed played the Delivery Boy.  I thought he was going to be a pizza boy (as he is credited as  the deliver boy in the programme).   His very short scene is terrific in creating a "Michael Chekhov" atmosphere of disquiet.

Speaking of atmospheres the scenic design by Todd Rosenthal was exquisite.  It reminded me of "Hotel Sorrento" at the Playbox Theatre at the Malthouse.  The costumes by Janice Pytel were chosen to accentuate each duality of each character. The actors themselves created the atmosphere by their behaviours, objectives and trust between each other. The way they used their emotional levels also counterpointed their inter-relationships and thus enhanced the atmospheres.

The cleaning up sequence was in silence.  This had so much tension and the characters histories, journeys and dynamics shown in this sequence.  You could empathise with each character's journey.  We have all had an embarrassing moment or a tantrum in our lives.  Or some moment that we wished we could forget or undo.  This lengthy sequence had so much drama in the silence and allowed us time to reflect.

Reliving moments is what Chris' character does so well.  Egg on his face not once but many times.  Trying to correct his errors creates more layers to his character.  This shows his brilliance as an actor to reach inside to each layer of discomfort. We cringe in mutual recognition.

Sound by Rick Sims was near perfection as the background music did not overpower the dialogue.  My only beef is the entrance of the delivery boy should have had two sound effects.  Maybe I missed it but I cannot remember him being buzzed in.

The inappropriate comments by the Palmer Party Senator, Jaquie Lambie requesting  a man "being well hung" is so relevant to this play.  This is the sort of debate that this play encourages.  That is another timely reason why MTC should snap this play up.

It would be interesting for the actors to see what is their Belbin Team player profile.

What do people go to prostitutes for?  Sex? Counselling?  Companionship? Other?  Why do people attend swingers parties?  Why do we live our lives as we do?  Challenging and confronting our attitudes.

I think there could quite easily be a sequel to this play that develops the rich areas that may be taboo to some.  This play has the potential to develop into a tv series that could explore many themes of sexuality.  For example, masturbation, monosexuality, diseases, postions, rape (both male and female rape), S&M, and bondage and deprivation. This could be developed with the questions of when and how to teach sex education.

This play explores so well the various levels of fear: anticipation, excitement, trepidation, wariness and dread.  This relates  to our fear to fully realise our potential as human beings.  The play may be appear to be about sex but it has more serious questions for us to consider about respect for self and others.

Highly recommended play with fine acting, direction and creatives.  A true ensemble play.

The King and I July 3 2014

The King and I

Princess Theatre Thursday July 3 2014.

The King and I is the classic Rodgers andHammerstein musical presented jointly by Opera Australia and John Frost.  This Tony Awardwinning production is revived at the Princess Theatre is a feast for your eyes.

Lisa McCune stars as Anna Leonowens.  She shines, sparkles, and exhilarates in her  interpretation of this famous role.   This is her show.  After her masterful performances in "The Sound of Music", "Cabaret", "A Little Night Music" and others, it is great to see her in another Rodgers and Hammerstein role.  It is as if they were written for her.

Lisa's singing is the most confident and pure in the whole evening.  It is consistently musical and in tune.   He singing shows up the jarring and flat tones of some of the other singers.  Her accent is very "Received Pronunciation" and does not falter in consistency.  She is a selfless performer who is focused on creating the relationships and connections with her co-stars.  Her presence enhances the atmosphere of Siam and her memories of her previous life abroad are held within her heart.

We are welcomed to the theatre with the incense of Buddhist monks sitting on the stage.

I  was waiting for the "Please turn off mobile phones message" and was disappointed this did not occur.  I suggest that this is done at their peril.  I had to tell two people to turn off their phones during Act Two.  I did pass on my feedback to a very pleasant usher who directed me to her supervisor who then in turn referred me to the Princess Theatre's Front of House Manager.  She was very obliging and concerned that her staff could not see these phones being turned on.  She is vigilant in her job as I have seen (from afar) her dedication to the theatre and respect for excellent customer service.

The overture lead by Peter Casey was superbly realised.  The opening sequence is superbly staged on a narrow walkway.  I loved the entrance of Anna wearing a crinoline and navigating this narrow walkway.

The staging, costumes and set designs are superb.  Directed by Christopher Renshaw with Musical Staging by Callum Mansfield creates a story that held my attention, even though I had seen the film many times.  The main truck that carried the King's throne made a visual impact rolling forward to command our attention.

The costumes by Roger Kirk are exquisitely ornate and pay homage to the Siam kingdom and the British Empire. The crinolines scene with the Siamese women not wearing underwear pays homage to Queen Victoria and her crotch-less knickers to "spend a penny." (Refer to the article in The Age pages 2-3, July 12th 2014 about the "Undressed" exhibition in Bendigo).  So more credit is due to Rogers and Hammerstein for this historically accurate joke.

The sets by Brian Thomson are clever in design and create an opulent frame to focus our attention without over shadowing the characters or the story.  We can still marvel at majestic settings and revel in the atmospheres they help to create.

The staging, which allows for the multiple casts of children, is effective and honours my memory of the film.  I particularly enjoyed The Small House of Uncle Thomas sequence that punctuates the story and mood.  The staging and dancing paid honourable homage to the original choreography by Jerome Robbins.

I enjoyed John Adams who played the dual roles Sir Edward Ramsay and Captain Orton.  He differentiated between the characters and made me giggle at the right times.

Adraina Li Dooni as Lun Tha sang pleasantly and confidently, and did not seem fazed at some off notes by his female companion.  He was there to support generously and not be thrown.

Some of the children lost focus during the performance.  While others held the character throughout.

Lousie Leonowens was terrific and held his characterisation. He sang with the right amount of trepidation with his mother.  It was great to see his development in his very short scenes. Apologies that I cannot acknowledge your name as the children's cast list was not posted in the foyer.

The young Prince Chulalongkorn lost focus and was watching the audience while Anna and the King were in their final scene.  This young man should maintain his characterisation and seemed to be "acting by numbers".

Overall I would recommend this show to see Lisa. LisaMcCune. For who? FOR LISA MCCUNE!!!

I also posted this on to the Ticketmaster site:

Lisa McCune excels in this iconic role with her pure singing and her interpretation of Anna.  Sadly Jason Scott Lee had been injured and we saw the understudy who was very capable but too young for the role and needs to hold his stances with more commanding stillness and authority.  Some of the singing by the two main female supports was piercing, shrieking, and off key. The sets and costumes are sumptuous and no wonder this production won Tony Awards back in the early 1990s.  Sadly there was no announcement to remind patrons to turn off mobile phones not to use recording devices.  This could have been achieved by the king's authority.  Sadly two rude people decided to turn on their mobile phones and proceed to distract others.  Please put up visual signs that emphasise that phones etc cannot be used in the theatre UPON ENTRY!

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Imperial Suite and Suite En Blanc June 25 2014.

Imperial Suite and Suite En Blanc

State Theatre, Victorian Arts Centre, Melbourne,  Wednesday June 25 2014.

This classical double bill by The Australian Ballet of "ImperialSuite" and "Suite En Blanc" was superb.  Both are not my favourite ballets, though I must give credit where it is due.  They were superbly danced, to the extent I say the best I have seen them performed by this company.

"Imperial Suite" choreographed by George Balanchine is a classical ballet in shades of blue.  A rich blue that is so regal it is nearly purple at times.  To think that this ballet originated in 1941 is a testament to Balanchine's training, heritage and musicality.

The solo piano played by Duncan Salton was beautiful to listen to.  The dancers must be in heaven to dance to such beauty.

This ballet showcases technique, musicality and artistry.  All I can say is that the dancing was exquisite and the precision of the footwork was impeccable.  The turned out heel and the elegant and square shoulders, the extended lines, the pas de deux, the musicality, the coherence.  Pure bliss.

"Suite En Blanc" choreographed by Serge Lifar  is a white ballet with the very commanding opening tableau.

I cannot single out anyone for not contributing.  It was pure team work.

The Pas de Cinq was danced with assurance and a slight edgy feel, as one dancer was replaced from the cast list.  This gave the performance a slight tension which added to their concentration and efforts.  They danced with a dedication to their team.

The Pas de trois with Madeleine Eastoe, Kevin Jackson and Andrew Killian was sublime.  They moved as one.  Kevin Jackson returning from a short stint with the American Ballet Theatre seemed to have a new level of maturity and confidence.  He seemed effortless and so robust in his body.  Both he and Andrew Killian were so methodical and assured in their support of the sublime Madeleine Eastoe.

The Serenade, dance by Reiko Hombo was exquisite in her musicality, artistry and dancing.  If she is not promoted to principal in the next 12 months it is only because the other Senior Artists are also so deserving.  I cannot remember such a strong Senior Artist team for years.  I had tears well up in my eyes with her magnificent technique and interpretation.

Laura Tong is such a fine dancer and her interpretation of Variation de la Cigarette was precise and powerful.  It was such a shame that in her final pose her foot slipped and stole from her a faultless performance.  In true professional style she covered this and took our attention away from this "inconvenient " irritation. To maintain one's composure, technique and musicality takes skill. She was so self assured, as if she stamped out a cigarette and made her finish so individual and relevant to this ending.

The Mazurka, danced by Chengwu Guo was breath-takingly brilliant. Powerful, majestic and electrifying.  This was sheer bravura and masculinity at its best. Cheers of appreciation resounded at the conclusion of this masterful technician's solo.  He reminds me of the powerful and young Danilo Radojevic.  I would love to see this young man perform the "Billy the Kid" solo choreographed by Michael Kidd and coached by Danilo.

Amber Scott was so beautiful in her Variation de la Flute.  She is so feminine, and is so solid in her technique that originates not only in her core but also her heart.  Her port de bras is so fluid, lyrical and weightless, as if she is about to take flight.

The double tours en l'air by the men were phenomenal.  Their finish into a clean fifth position was something I have rarely seen consistently by a group of men over an entire night.

Congratulations to The Australian Ballet on such fine work and artistry.