Parade, 45 Downstairs, Thursday September 25th 2014

Parade, 45 Downstairs, Thursday September 25th 2014

"The Collective" is a new theatre company that presented the Jason Robert Brown award winning musical "Parade" at "fortyfive downstairs" theatre.

For those new to my blog, I pay for my own seats and I do not retell the story. If you want the story click on one of the links to the title.  I write from a holistic experience of attending the theatre. I also provide lots of links for you to follow if you want further information. Some of the links may appear to be same but there could be a different link for example "Parade" may direct you to the Broadway site or to another site.

Congratulations to the company for presenting this rarely performed work and marking its Australian professional premiere.  We have just come back from seeing 16 shows in Chicago and New York and my partner thought this was the best of all of the shows he had seen this year.

"Parade"  is a thought provoking work that is based on true events of 1913 and these themes are as relevant today and,  sadly, will be relevant in the future.

This ensemble cast of 14 bring to live the story through their commitment to story telling and their skill as performers.

The traverse stage had the audience sitting in four long rows on opposite sides of the central stage.  This type of staging worked very well except for the four columns supporting the building which impeded our view.  Sitting in the back row centre had a good view of the central area, but it was particularly annoying as the columns blocked our view of the two ends of the staging area.  The traverse stage worked well to create the sense of a street and we were watching a parade go by. At one end there was a raised area with the Confederate Flag  hanging.  While at the other end loomed the ominous tree that Leo Frank would be strung from.

Queuing up, (or rather down) the stairs is so much like attending an Off Broadway show in the Lower East Side of New York.  This venue has safer stairs and more toilets than in most Off or Off/Off Broadway Theatres.

The bar was decorated with the Confederate Flag to continue the theme.

What I did not like was not being able to buy a programme and read it prior to the show.  Yes, they had one hanging at the ends of a row of seats and one posted on wall.  But it got crowded trying to read the programme on the wall.  I had to wait until I got home to print up my own copy and it did not look as good as if it were professionally printed and bound.

The story has many parallels with Jesus Christ which was also made into the musical "Jesus Christ Superstar."  There appeared at times to be similarities with the persecution of Leo Frank to Jesus Christ and other characters were similar to the Pontius Pilot and Herod characters.

"Parade" is so rich in many layers of story telling and I would thoroughly recommend adding the cd to your collection.  The actual Parade is meant to occur three times to juxtapose the story.  I thought the visual parade was only clear at the start.  The memorial parades are meant as a counter point to the tragic story and are also meant to serve as a release of the tension to allow the slow build up to the climatic conclusion.

Direction by James Cutler was so focused and rich in developing the story.  He also provided us with so many wonderfully seamless transitions between scenes.  This no doubt was a collaborative effort with the designers and choreographer David Harford.  It did not feel like "and this is the dance part" of the show.  The movement and dances were in keeping with the period and David integrated these into the musical.  Not being perfectly danced added to the honesty of the performances.

With a reduced cast of 14, playing multiple characters caused a bit of confusion with the audience at times.  Clearer delineation of characterisations and costumes, posture and voice would solve this.

Musical direction by Cameron Thomas led his orchestra to play this magnificent score with the right amount of balance to juxtapose between the sombre and the celebratory.

I cannot applaud this production highly enough.  Though I would be remiss in not mentioning some key performances:

Luigi Lucente as Leo Frank was sublime.  I do not say this lightly.  His commitment to the character of Leo Frank transported us into his nightmare journey.  Vocally rich and emotionally connected at all times to his character.  He was Leo Frank. 

Laura Fitzpatrick as Lucille Frank pursued an honesty with her stressful situation to support her husband.  Her connection with Leo allowed us into both of their inner turmoils surrounding their tragic situation. You cannot separate the connection between their union.

Cameron Macdonald was sheer magic as the journalist Britt Craig.  He had made solid and defined choices about his character and these could carry in a huge 2000 seat theatre.   Though  I felt Cameron's brilliant performance needed a bit more support with costume or colour changes to differentiate between his Britt Craig and Governor Jack Slaton character (as some people thought Britt Craig had been promoted to Governor.)  I think they should have had two actors playing these two important roles as in the original Broadway cast.

Luigi Lucente and Cameron Macdonald's characterisation and immersion in their roles are some of the best I have seen this year other than Dave Thomas Brown in "Heathers."

Congratulations for presenting this fine work with such a talented cast.  I look forward to supporting your ventures in the future.

Li'l Abner, Space 28, VCA Music Theatre, Friday September 26th 2014

Li'l Abner, Space 28, VCA Music Theatre, Friday September 26th 2014

Congratulations to the cast and crew of "Li'l Abner" performed by VCA Music Theatre Students at Space 28 at the Victorian College of the Arts.

For those new to my blog, I write about the holistic experience of attending the theatre.

"Li'l Abner" the musical is based on Al Capp's comic strip of the same name.  This musical with a book by Norman Panama and Melvin Frank, with original direction and choreography by Michael Kidd, lyrics by Johnny Mercer and music by Gene de Paul. The Broadway musical was turned into a movie with many of the same cast. 

Upon arrival there was no clear area to purchase a programme.  It would have been more in keeping with a musical theatre experience to have programme sellers ( in costume to maintain the theme of the show.)

The pre-show announcements over the speaker system did not leave a good impression at the poor sound quality.  I have attended this theatre before and the speaker system needs to be adjusted accordingly.   Even though there were signs to say "Turn off mobile phones" there was no pre-show announcement. The ushers need to be trained to ensure that all patrons are respected and rectify any breaches of mobile phone and camera use.  In my seating area, there were three instances of mobile phone use during the show and it is very distracting as my peripheral vision catches the mobile phone lighting up.

Starting 15 minutes late is not good, especially for the elderly who try to time their pre show toilet visits accordingly.  Take note - it is usually the professional commercial productions that will start within 5 minutes of starting time, compared to the state run theatre companies or the state run festival shows that start much later.

This production directed by Martin Croft showcased some exceptional talent. Congratulations on the choice of this rarely staged musical as it allows for a large cast with some very defined characters to demonstrate the students' craft.  This was a collaborative effort and has shone through with each of the production credits to support Martin's vision.  Some of the characterisations needed to adhere to solid choices.  The cast created atmospheres for Cornpone Square very effectively.  Some more work on creating ensemble atmospheres in other scenes would enhance their work.  The stresses on some phrases showed a lack of understanding by the young cast on some of the relevance of the 1950s language and jokes.  Some of the jokes were thrown away.

The Musical Director, Stephen Gray brought his small orchestra of six to life.  What a shame they were not dressed as yokels as they were upstage and in full view for the whole show.  The harmonies in the a Capella singing were brilliant and demonstrated how well the students have been trained and rehearsed.  The orchestra played with enthusiasm and created a rich sound with such a small ensemble. Why not use a fuller orchestra from the VCA Music School?  This would give them experience for multiple performances as in the professional world.

The set design by Adam Gardnir was a clever use of trucks that connected to create various locations including Dogpatch, a Yokum Cabin, a fishing hole, Cornpone Square etc.  The colour scheme and design honoured the cartoon-esque nature of the original comic strip.  I loved the transitions between scenes and the lighting of the back cyclorama to assist in the change of scenes.

Bearing in mind that these scenes would have been played originally on Broadway in front of tab curtains and allowed for the scene changes behind.  These young students did a sensational job in moving the set around. Some maintained their character when changing the scenes while others did not.  There was a little trouble on the entry of the statue upstage left,  due to a tight squeeze or the sheer weight of the truck/set.

The costumes by Harriet Oxley were a tribute to the Al Capp's comic strip and were well made to sustain multiple performances.

The make up for the main characters was generally well defined.  Though the ensemble make up varied.  The men, especially, needed to reduce (or even eliminate) the amount of blush and lipstick. Their make up needed to be more natural or cartoon-esque, rather than too twee.

The lighting by Bryn Cullen created a clean and definite cartoon strip quality.  I would have liked to have seen a little more light and shade to accentuate and differentiate the relationship between Li'l Abner and Daisy Mae.

Congratulations to the choreographer Troy Phillips for he honoured the cartoon and the feel of Michael Kidds' choreography in the movie.  Working with such a large cast on a large number of ensemble numbers was one huge feat.  The varying levels of dance ability was utilised to maximise the success of each production number.  Troy has managed to capture the essence of this backwater town.  His clapping sequence, reprised at the end of act two was breathtakingly brilliant and was up there with the quality of the clapping sequence from "Mary Poppins" as a show stopper.

Troy's choreography for "Jubilation T. Cornpone" was slick and a sheer delight as I could not wipe the smile off my face.  It brought back so many memories of repeated viewings of the movie.  The big challenge was to be the finale to Act One, the Sadie Hawkins Day ballet.  It was not the choreography but more the execution by some of the dancers that lacked the slick and sharp polish of the other ensemble numbers.  Some of the lifts required some work to support their partners.

Li'l Abner was played with brutish and naïve charm by Mitchell Ralston.  He was born for this role with his athletic physique and Saturday matinee idol looks.  He had a strong characterisation and moved accordingly.  Though he sang well, he did not sing with his character's chosen accent.  Daisy Mae played by Imogen Moore with 1950s innocence.  She maintained her accent whilst singing with her beautiful voice.  While they worked well together, there should have been more electricity in their connection.

The role of "Marryin' Sam", which Stubby Kaye performed in the original Broadway Cast and the movie, was channelled magnificently by a young Alex Gibson-Giorgio. His characterisation was brilliant and remember his name! He did not lose focus and was consistently great throughout.  Vocally he has a great texture to his character's accent and sang with this same accent.

Notably, Tina Louise (Ginger from Gilligan's Island) played Apassionata Von Climax in the Original Broadway Cast while Stella Stevens played the role in the movie version of "Li'l Abner." So to compare the young actress Amberly Cull to these actresses is a big ask.  While I liked Amberly's accent and poses, her walk required more of a "singer sewing machine" bourree in her stilletos to accentuate the slim line skirt and the 1950s femme fatale role.  Her walk was too modern, confident and assured for the character.  Her characterisation needed fuller focus to be the seductress.

Some of the other highlights included: 

The Six Dogpatch Wives with their brilliant rendition of "Put 'Em Back The Way They Wuz." Vocally and staging wise, these six fine performers relished this scene and created a pure atmosphere of desperation.  Performed with shameless exuberance they created a magical moment for me that was as memorable as the movie.

I adored the cartoon-esque six-pack body make-up of the men-folk in Scene Seven, Act Two in the laboratory.  Plus the role of Dr Rassmussen T. Finsdale played by Barnaby Reiter had the right amount of subtle 1950's sexual innuendo.  He did not camp up this role and committed to his solid character choices to sustain his role.

Evil Eye Fleagle was brilliantly executed by Henry Brett.  He moved with brilliant ease in an evil cartoon-esque  manner.  His green suit allowed Henry to immerse himself into this role, and to transport us into world of Andy Capp's comic strip. 

Mammy Yokum played by Jordan Barr, paid fine homage to Billy Hayes from the movie.  Pappy Yokum played by Dean Schultz  paid fine homage to Joe E. Marks from the movie.  They played the parents of Li' Abner with zest and created a long term marital connection.  They carried their characters with commitment throughout.  Their comic signature walk created a consistent laugh from the audience.  They missed an opportunity when they exited with their suitcases.  This exit would have been even funnier if they tried to navigate the stairs doing their signature walk and carrying their suitcases.

Earthquake McGoon was played with dirty-old-man 1950s aplomb by Joshua Gardiner.  His characterisation was solid and consistent and did not lose focus.  He created and radiated atmospheres upon each entry and exit.

On pages 16 and 17 of the programme it needed to be consistent with pages 7 to 9 to identify the role of each of the production crew members.  You had to flip to page 20 to quickly identify their production role.  The programme also needed proof reading.

Overall, congratulations on a marvellous production for a show that was originally berated by some Broadway critics at the time.  I think it is funnier today than when I watched repeated screenings of the movie in the 1960s and 1970s. 

The Nutcracker, Australian Ballet, State Theatre, Wednesday September 18th 2014

The Nutcracker, Australian Ballet, State Theatre, Wednesday September 18th 2014

This production of "The Nutcracker" premiered at the Birmingham Royal Ballet in 1990.  The Australian Ballet premiered this production in 2007.  "The Nutcracker" provides audiences the thrill of a classical narrative ballet.  It also provides the magical opportunity for many new dancers to realise a dream to dance in "The Nutcracker."

"The Nutcracker" is an iconic narrative crowd pleaser ballet.  This version choreographed by Peter Wright, Lev Ivanov and Vincent Redmon brings such joy to many people for its spectacular sets, memorable music and clear story telling.

The magnificent sets and costumes by John F. Macfarlane provide the icing on the cake for the dancers to physically immerse themselves.

We were advised that filming was to occur at this performance.  I am sure that there will be some severe editing from this performance to cover up some technical issues.  However, I am sure that they have filmed multiple performances and will edit accordingly.

Act One focuses on the Christmas festivities with the focus on Clara receiving her Nutcracker doll which is broken by her brother, Fritz.  Clara was danced beautifully by Benedicte Bemet showing off her innocence and exquisite lines.  Fritz danced by Ethan Slocomb won the audience's hearts with his boyish cheekiness.  The audience giggled and laughed at his antics.  His facial expressions and miming carried through the theatre, while some adults miming was not as clear.

The magic of the production was marred by some minor technical issues including the silver bauble which did not stay on the tree and that a stage hand had to retrieve.  There were four dancers who could have picked up the bauble without us noticing as if were part of the action. Why didn't any of these two couples pick up the bauble and put it back on the tree?  By pretending to ignore the bauble they highlighted its presence.  They lost an opportunity to maintain the reality of the festivities and thus took us away from the fantasy. 

Later, in Act Two, during the Spanish trio, one male dancer did not manage to throw his hat off stage completely.  As the trio exited stage left, he kicked the hat off stage.  Why didn't he reach down to scoop it up as he exited?  This would have been a natural action and kept the flow of the movement.  His "soccer" kick scored a goal through the tabs and highlighted the presence of the hat as an error.

Kevin Jackson can on occasions over extend his foot pointing and curl his toes under, in contrast to standing next to the other male dancers.  It jars against the lines of the other male dancers.  He is such a fine dancer and this takes away from his majesty.

The mother's solo in Act One was danced beautifully by Ingrid Gow.  Though, it is such a wasted piece of corny choreography, as we can only see her port de bras and it is as if she is being wheeled on a "truck" and the dress follows suit. I guess her fluidity of footwork created such an even skateboard effect.

Some of the girls in the "Waltz of the Flowers" sequence need to roll through to en-pointe and to use less shoulders.  It appeared that some were "heaving" themselves onto pointe and takes away from any opportunity to look light.

Some of the aspects that I relished follow:

The characters were more well defined in Act One than when I had seen previous performances.  Some of the miming was more explicit for some characters than others.  The levels of miming needs to be consistent with all dancers.

Brett Chynoweth as Clara's dancing partner, showcased his pure technique and his strength.  I love his precision and his lines that extend into the wings.  He supported Benedicte Bemet and they danced in concert.

Another highlight included Robin Hendricks in the Arabian dance ably supported by John-Paul Idaszak, Mitchell Raynor and Cristiano Martino. The four danced in unison and created strong angular lines in their port de bras, which were missing in 'La Bayadere."  These three fine men admirably ensured that Robin Hendricks was the centre piece.

Laura Tong is such a distinctive dancer with strong features and magnificent technique and fine artistry.  Laura's Snow Fairy at the end of Act One was beautiful and she has a lightness and weightlessness is something that other dancers could learn from.  She is such a fine presence and her slip on the snow did not faze her.  Her steely technique and artistry would not be conquered.  She reminded me of some Russian prima ballerinas that I have been lucky to see in the 1970s.

The finale to Act One had two rows of  ladies in a diagonal to the upstage right corner.  Their pose in epaulment provided such a conclusive and everlasting image. The consistent lines were sheer magic.

The Rose Fairy Consorts in Act Two were danced with strength and masculinity by Rudy Hawkes, Brett Simon, Jared Wright and Brodie James. I enjoyed their unity in musicality and creating an atmosphere.

The music was played well as led by Nicolette Fraillon who seemed more theatrical, precise and emphatic in her gestures.  There was a camera in the orchestra pit.  Was her performance also to be filmed?

Some of the dancers appeared out of time on occasions, or, the choreography grated and did not lend itself to the music.  At times the choreography did not flow with the music and reminded me of poor synchronisation as in a dubbed Sunday afternoon "Epic Theatre" film.

The pas de deux with Madeleine Eastoe and Kevin Jackson was sublime.  He is a powerful man and supports her to showcase her ethereal qualities.  He has such beautiful ballon and appears to float in the air.  He is such a masculine dancer and makes Madeleine shine, shimmer and glow with his assured partnering.

Over the years, I have seen this production three times and it still bothers me that during the final transition to the main set, that the two red chairs are missing.  I understand that they will get in the way for the final curtain calls, but they could quickly be whipped off-stage by some able stage hands.  This is a minor annoyance that reeks of continuity errors in your favourite movie.

Having seen this production of "The Nutcracker" three times now, the characters have become more defined, but the production needs to overcome some technical issues that I have not seen in prior productions.

Let's Get It On, Athenaeum Theatre, Friday September 12th 2014

Let's Get It On - The Life and Music of Marvin Gaye, Athenaeum Theatre, Friday September 12th 2014

"Let's Get It On - The Life and Music of Marvin Gaye" is the full title of this show that played at the Athenaeum Theatre, Friday September 12th 2014.

As their website states this is a show.  I think it vacillates somewhere between a concert, musical and a cabaret show.  Having just seen "Motown" on Broadway, which also features the main aspects of Marvin Gaye's life, it is hard to separate the two shows.

Firstly, Bert Labonte and Jude Perl have great voices and sing the songs with passion and provide fine interpretations of the catalogue of Marvin Gaye songs.  My American friend said he has never heard the "Star Spangled Banner" sung so well.  Congratulations  Bert for providing this iconic moment.

The Funky City Band were terrific in their musicianship and artistry.

Upon arrival at the theatre preparations for putting up posters and setting up the programme stand were taking place.  We arrived at 7.25pm for an 8.00pm show and I was curious why staff were preparing the foyer so late.  Why was the foyer not prepared earlier, as the show was playing for a week, and this was its second last night?  This did not give a good first impression.

At first I thought the show was going to be a musical, as the title suggests.  Also, the flyer calls it a show and this term is used frequently when describing musicals.  It is only when you read page three of the programme or the website (the next day)  does it specify the show as a narrative concert.  This too me is the main issue with the show.  It is not defining enough to stamp its direction.

As a musical it dies a death but as a narrative concert it works, though I felt it was about twenty minutes too long.  I think it would have worked better as a concert without an interval and by cutting out some songs.

The opening narrative levels were way too loud.  My immediate question - was did they do a sound vocal level check? I put this down to a hiccough, as the sound levels improved remarkably.

The choice of songs did not seem to progress the story in the way a musical can.  The choice of songs seemed to be an excuse for what may appear to be the most appropriate song. 

Tom Healy directed this show. The narration needs to be delivered with less casualness and off hand ad lib.   The narration needed to use pauses more effectively. There seemed to be a repetition of phrases - narration, song, narration, song.

Some of the repeated jokes between Jude to Bert wore thin after their repetition.  Also the fluffing of lines in the narrative, on at least four occasions, made the show more amateurish and took away from Bert and Jude's fine singing ability.  In fact, they discussed on stage some of the confused jokes.  If this were cleaned up it would provide more direction to the narrative.

There seemed to be a lack of drama when Marvin got shot whereas in "Motown" there was a weight to the significance of his death.  This show needs editing to create emotional connections to the story and provide some texture in the narrative. We need to be taken on a journey and the narration was delivered in too casual a tone.

The show needs cleaner choreography or staging directions.

The lighting design by Lucy Birkinshaw was messy and used clichéd plots.  There were major holes in the flow of the design with some very jarring lighting changes.  At times the lighting was bland and gave the stage a look of black death.  It looked like a lighting plot for a touring show that had been an afterthought, rather than providing a seamless trinity of staging, music and lighting.

The simple steps and band-stand set design by Kym Jones was effective.

As my friends and I discussed afterwards with the choice of songs, it was neither chronological or truly specific to progressing the story.  The location of songs did not build any dramatic tension.

With all of these confusing aspects you just had to sit back and enjoy Bert Labonte and Jude Perl's singing.

With some cleaning up this show could deliver a much slicker story.

A Gentleman's Guide to Love and Murder, Walter Kerr, New York, Tuesday August 4th 2014

A Gentleman's Guide to Love and Murder, Walter Kerr, New York, Tuesday August 4th 2014

We were very fortunate to see "A Gentleman's Guide to Love and Murder" at the Walter Kerr Theater.  This Tony Award winning musical was performed with some replacement swings or understudies.  They delivered and gave a great performance.  A wonderful piece of musical theatre that pays homage to so many aspects of theatre.

"A Gentleman's Guide to Love and Murder" has a book and lyrics by Robert L. Freedman.  Music and lyrics are by Steven Lutvak.  They have based their hilarious work on a novel by Roy Horniman.
 

We saw a cast of eleven fine actors play the roles. The following role changes are confirmed from the Playbill cast list inserts:

The D'Ysquith Family was played by Greg Jackson.

Phoebe D'Ysquith was played by Catherine Walker.

Miss Barley was played by Pamela Bob.

Kathy Voytko was welcomed as a new swing member.

The premise of "A Gentleman's Guide to Love and Murder" takes a while to set up and then picks up pace as in a typical farcical situation.  The payoff from the set-up will be reaped by the whole audience if we allow ourselves to be immersed into the story.  Overall a great night at the theatre.

The direction by Darko Trenesnjak is brilliant as he has captured so much from many genres of musical theatre, Gilbert and Sullivan, pantomime, film, television and pays tribute in a coincidental way to many shows.  He has a wonderfully fresh approach that emphasises the comedy.


Darko has worked closely and seamlessly with the choreographer Peggy Hickey to realistically recreate a period of time.  The staging of every scene was slick and painstakingly well structured for the audience to follow the flow with no jarring diversions of our attention.  Both Darko and Peggy had us eating out of the palm of their hands guiding our attention and also surprising us with a cheeky grin.  

The musical, "A Gentleman's Guide to Love and Murder"  honours and respects the tradition of musical theatre history.  I love when I can see parallels with other shows or shows that would complement your experience. This musical  also pays homage to the following shows:

"A Gentleman's Guide to Love and Murder" is a great companion piece to "Catch Me If You Can" as Monty would change his name and relationship as he would progress through the story.  He was quite liar and a conman and had to contend with dealing with his fate at the end.

"Murder For Two" is a murder mystery and we too are trying to solve who murdered one of the characters.

"Newsies" moment with the announcements by the newsboys hanging off the side of the set.

"Blood Brothers" and "Death Takes a Holiday" staging with the funeral scene. Also "Nine" with the all black funereal costumes.

This show is a tribute to the Music Hall and vaudeville theatre with the Victorian box staging and the set and lighting design.

There are tributes to various television shows with the use of the hand-like "Thing" character from  of "The Adams Family." 

There is a small musical phrase that I feel give credit to "Jekyll and Hyde."  Both are similar period pieces so this is not uncommon to have such a feel to the music.

During the scene with the detective and the court case where eight witnesses giving evidence reminded me of "The Secret Garden" musically.  I loved the simple staging with the choral singing with the cast facing upstage and each individual witness giving evidence by turning to the audience.  So simple and so effective.  No pyro techniques - just pure skill of the actors and simple staging.

The reason why I highlight these is that nothing is new in theatre and it is lovely to create memories with comparisons to consolidate my memory of a show.  It is those visually instantly recognisable connections that make it funnier and creates dual comedic moments. (It may be new for a new generation of theatre goers.)


Characters from literature include parallels to Uriah Heep from Charles Dickens "David Copperfield" and the talking paintings and sculptures are a tribute to J. K. Rowling's "Harry Potter" and Oscar Wild's "The Picture of Dorian Gray".
 

Various characters get killed off in the course of the show.  The various characters die in different ways.


We sat up in the A Row in the Balcony on purpose to experience and recreate the era of being in an old Victorian Theatre. Mind you there are only two rows in the Balcony.   We were correct in selecting  these seats as it added atmosphere to watching a Victorian show.  It was delightful sitting in the "nose bleed" or "Gods' or the "Heavens" as the musical carried so well in our direction!

Though two people left before the show started as they were not happy with their seats in Row B in the Balcony.
 
It is good to be able to see shows from different seats to see if they work. Our view was not too badly restricted as we only had to lean forward for when characters were downstage front and centre on the walkway. This show works but would work for both Balcony Rows better if the downstage action was moved back upstage one step. Also if the top of the main set was raised about 2 feet this would allow an less impeded view of the set and we could enjoy the full impact of the multi media displays. (Not that we missed much of the multi media displays.) Plus they could charge full price accordingly.

In fact I would totally recommend sitting up in the Balcony for the atmosphere of looking down upon the action.

Scenic Design is by Alexander Dodge and it is superb as it is a balanced set that embraces the Victorian era with a stage within a stage. I loved the clever use of every aspect of the set with the easily accessible wings on the smaller stage, the beautiful rich red curtain, the simple ladders on each side of the proscenium arch, the walkway (reminiscent of "Gypsy" and the burlesque era, the use of trucks for the sets, the lift up bar and the drop down barmaid, the snow and trees on the hills, the gymnasium etc. I also adored how the stage would extend and bring the characters closer to the audience and develop depth to the stage.


Such a simple design and a real tribute to the Victorian Theatres that children could make.  In fact I loved it as it brought back so many memories of the 1960s when I used to make a stage from cardboard box, using coloured cellophane for the lighting effects and using the toys from cereal packet toys as the characters.


The staging in conjunction with the visual projections by Aaron Rhyne created a sensationally funny sense of space, time and motion.  The angles used added to the depth of the perspective which heightened the humour of the falling scene.  Then the red blood spilling made another joke to heighten our pleasure of this scene.


I also loved what I could see of the visuals for Egypt, India and Africa as well.  Not being able to see the whole effect did not spoil the experience.  It added to the fun of the history of theatre for me.

"A Gentleman's Guide to Love and Murder"  is brilliantly directed by Darko Trenesnjak as he has captured so much from many genres of musical theatre, Gilbert and Sullivan, pantomime, and pays tribute in a coincidental way to the following shows: particularly when climbing the tower. 

It was so stylish and also so effective.  My following comments about the set design are not a criticism but an observation:


It is interesting that two of the scenes would work much better for the Balcony if they raised the back part of the set in the skating moment as we could see what was happening behind.  It would enhance the comedy  it if we could not see the actors as they fell etc.  So many shows are directed with many views in mind but some show do not work well in the upper balconies.  I do not think that "The Phantom of the Opera" works as well as this show from the Balcony as it is unbalanced and destroys some magical moments.


Given that it is a fun show and it is also sending itself up the head roll joke works better in the Orchestra Stalls than it does in the Balcony.

The opening with the chorus reminded me of the Greek chorus from "Sweeney Todd" or "Love Never Dies" (in Melbourne - where they were lowered from the flies.)

Quick and simple set changes that paid homage to the old Broadway musicals with short scenes in the front tabs while scene changes occurred behind.  Classical and slick.

The music is such a theatrical classical structured work. There is the opening tension building and scene setting "A Warning To The Audience" that both acts as a prologue and establishes the contractual rules with the audience.  It also pays homage to "There You Are" from "The Mystery Of Edwin Drood" which also sets the mood, context and scene for the audience so effectively.

Monty was played with exceptional charismatic charm and cheeky conman appeal by the Bryce Pinkham.  He sang with clarity and his diction was clear.

"Lady Hyacinth Abroad" covered the three trips to Egypt, India and then Africa was a real tribute to the old vaudeville gags or The Three Stooges.  Such classic "three times and your out" jokes.  Love them!  Clever wig and costume design by Charles La Pointe.  As the cast returned from each journey, their body language showed their immediate atmospheric responses to their travels.  It would have been good to see one grasping their stomach when returning from India.

Four people created the shape of the love triangle of Monty with both and Sibella, Phoebe.  I cannot remember if it was Chauncey or Lord Adalbert (wearing a red jacket and top hat) who was in the corner of the triangle as if he were a chaperone. I was laughing too much and enjoying Monty's situation. This three -way love joke was continued at the end with the bum grabbing by both Sibella and Phoebe.

I loved the "bee scene' and we as an audience knew what was going to happen.  This predictability added to the humour.  It was not about if but when we were to be feasted with another great gag.  Visually simple with projections that added to the humour.  The costume design by Linda Cho was sensationally respectful to the period, but it is the Bee-hat that I adored.  So simple and it would be fun to wear at The Melbourne Cup!

The design of the bar scene was very simple and clever where the bar raised from the stage with the barmaid dropping into a lift to create a bar room perspective.

Some of the men were flat in some of the ensemble singing.  This did not bother me as in some Broadway shows you expect perfect pitch.  Here I thought it was in keeping with the era and I was more forgiving.

Some of the diction of the dialogue was a little muffled at times as some of the words were swallowed.  Poor diction is not forgivable.

Act Two opens with the funeral scene "Why are all the D'Squiths Dying" that reminded me of the funeral scenes from "Blood Brothers", "Death Takes a Holiday" and "Nine".  Note it is a statement and not a question in the title of the song!   There is a respectful distance when attending funerals to allow those having a more direct relationship to the deceased to be closer to the grave site.  The staging filled the stage with texture.

I loved the trio "I've Decided to Marry You" with Monty, Sibella and Phoebe as it is classic farce with the use of the split set and the use of doors.  Very clever staging and great timing. Sibella played by Lisa O'Hare had a pure voice.  The trio sang with beautiful harmonies and so sincerely which made the scene funnier.

There is a patter song that adds a bright spring to the show and pays homage to Gilbert and Sullivan.

The dinner scene reminded me of the awkward dinner scene from "La Cage Aux Folles".  It was fun with the silver plates and the shifting dynamics in the scene.  I loved capturing the moment by the Miss Shingle and her innocent look into the audience.

 "Looking Down the Barrel of a Gun" had Greg Jackson playing Lord Adalbert with gusto and vigour.  He also played Lord Adalbert with Boer war post-traumatic-stress-syndrome spirit.  His demise is imminent and we are waiting to see how this will be achieved.  Great fun and I loved the spitting of food that reminded me of Steven Berkoff's play "East" which played at The Princess Theatre in Melbourne in the late 1970s. (The night I went "The Sullivans" cast walked out at his improvisation.)

"Stop! Wait! What?!" allows Monty to reflect and give us time to take stock of the situation before the finale.  Bryce Pinkham allows us to connect with his predicament and empathise with him.

I loved the jokes about "Riff Raff" and May 11th is an in joke with my partner.  The clever writing will allow every audience member to connect with something personal and memorable for them.

I loved the philosophical line about the being wealthy - "Got none of her troubles."

The "Beyond Reasonable Doubt" moment to me was classic court room postures and also I felt an in joke to the famous play of the same name.

 

The Walter Kerr Theater is the perfect size theatre for "A Gentleman's Guide to Love and Murder" as it allows an intimate connection to the characters, and allows us to feel a part of the action.  This musical would be a perfect vehicle for the Melbourne Theatre Company at either The Playhouse, Comedy Theatre or I would love to see it in The Athenaeum in Melbourne.  If it is not picked up professionally it will be snapped up by regional or amateur companies when the rights become available.

I totally recommend "A Gentleman's Guide to Love and Murder." The premise of the show takes a while to set up and then picks up pace. Overall a great night at the theatre.  I could easily it again as there are so many fine nuances to the story and the direction.  It is one of those shows that will be remembered for many years to come for its individuality.

 

Aladdin New Amsterdam Theater, August 2nd 2014

Aladdin, New Amsterdam Theater, August 2nd 2014

Aladdin, New Amsterdam Theater, August 2nd 2014.














I posted the following on my evaluation of "ALADDIN" on the Disney ticket site:


I adore you visual signs for NOT USING CELL PHONES, CAMERAS ETC, but the ushers need to be more vigilant with sneeky patrons.  I had to ask a man to turn off his VERY DISTRACTING CELL PHONE. I reported it at interval to the Theatre Manager and I was SO IMPRESSED they had an usher hover at a appropriate times in Act 2.  This needs to occur prior to Act 1 to stop inappropriate behaviour. Otherwise there will be a law suit.  We have spent a lot of money to come to NYC for a month and to have this behaviour is inappropriate.

Remember that some families have saved for months to see this show.  I spoke up on not on my behalf but every audience member.  Walt Disney would want ALL to have access to enjoyment. Let us stop this obsessive use of electronic media in theatres now!

The musical "Aladdin" is a wonderful family show that has been adapted from the animated Disney film.  The collaborators have restored some of the originally dropped material and re-instated it to create a fresh fun-filled show.

The music and lyrics are by Alan Menken, Howard Ashman, and Tim Rice while the book and additional lyrics are by Chad Beguelin.  Together they have created a fun-filled adventure that changes the appropriate moods for the various locations and atmospheres.  They have created songs of drama, adventure and romance.  The songs are snappy and memorable.

The scenic design by Bob Crowley is magical and uses clever circular lifts to transport our genie for some grand entrances and exits. 

The costumes by Greg Barnes are superbly realised to transport us into the fabled city of Agrabah. They pay homage to "Kismet" and  to all of the Saturday afternoon adventure films.  The colour palettes chosen for each major scene create a point of difference to heighten our memories of this superb show.

Together with the lighting designer Natasha Katz we have the kaleidoscope of colour for the bazaar, the mauves and blues for "The Palace Walls",  the gold and yellows for the cave,  and the majestic whites and lilacs for the opening of Act Two procession.  Natasha's lighting also allows us to fly with Aladdin and the Princess among the stars.

The direction and choreography by Casey Nicholaw is slick, polished and entertaining. He has worked with an incredible production team to create the relationship arcs to take us on a journey of adventure.  This journey pays homage to the Bing Crosby, Bob Hope and Dorothy Lamour from the "On The Road" films. It also pays homage to so much theatrical history from vaudeville to rap music.

The fight direction by J. Allen Suddeth provides us with the dramatic suspense that reminds me of the swash-buckling Errol Flynn adventures.  Even though it is campy and predictable it is choreographed with style, finesse and fun.

All performances by the "Aladdin" cast capture the essence of the Saturday matinee, the vaudeville jokes and of course the Disney animated feature film.

Aladdin played by Adam Jacobs was everyman's underdog and dreamer.  He plays the romantic lead with aplomb.  Jasmine played by Courtney Reed had a pure voice and a charismatic charm that is pure Disney.  The Genie played by James Monroe Iglehart paid homage to Robin Williams with his maniacal pace and effervescent personality.  His entrances alone are worth the price of the ticket.  Pure Disney magical bliss with the use of the scenery and mechanics.

Jafar played by Jonathan Freeman was superbly sinister and the atypical pantomime villain.  He had  originally voiced the role in the Disney animated film.  Historically he is the first voice actor to play a role originated from an animated film to the Broadway musical. Sheer perfection.  His off sider Iago played by Don Darryl Rivera balances Jafar with their slapstick vaudevillian antics.

This musical is not just for children as it has some very sophisticated humour as well as romance.

"Aladdin" is a musical that I could see again for its sheer entertainment value let alone the fine displays of magical illusions.

I totally recommend this production for the holistic experience, save the cell phone issue.

La Bayadere, Australian Ballet, Wednesday September 3rd 2014

La Bayadere, Australian Ballet, Wednesday September 3rd 2014

"La Bayadere" choreographed by Stanton Welch originally for the Houston Ballet has been recreated for the Australian Ballet.  Narrative ballets are the bread and butter for the Australian Ballet and provide opportunities for great sets and costumes.  Though, I am always sceptical that you get to see the best choreography and dance in some new versions of narrative ballets.

Costume designs by Peter Farmer are adequately glamorous while his scenic designs are very traditional ballet scenery comprising tabs, backcloths, scrims and the occasional piece of furniture.

Lighting design by Frances Croese was effective to highlight the dancers and create a sense of focus, space and location.

The story of "La Bayadere"  is convoluted and hard to follow. At least the ending is decisive.   It is one ballet that you really need to read the notes.  While the second act is easier to follow, it appears that you have the obligatory dream sequence to provide an opportunity for the ensemble of white tutus in the "Kingdom of the Shades" scene.

The "Kingdom of the Shades" has the most consistently high standard of dancing with the precision of the arabesque lines to the military fluidity of the  port de bras.  It was great to see no massive broken wrists among the 24 plus women.  It was the most pure version of this act I have seen in years.  Even with a few wobbles it allowed us to appreciate the strength, stamina and training of these fine dancers.

What intrigues me with the choreography is when Solo-Shade 1, 2 and 3 join the ensemble of girls down stage, we are then distracted by the two lines of 12 girls on the sides creating a blurred frame to the central dance by the Solo-Shades.  The pulse of 24 girls framing seemed to jar with the central dance.  I would love to imagine if we had an opportunity to focus on the three Solo-Shades framed by the stillness of the 24 girls.

I thought the men's dances were a little twee and comprised of sequences of enchainment from a classical ballet class.  Nothing too exacting for the dancers.  Danced well but lacked vigour, pep and excitement.

The women's dances were a little more exciting though some of the choreography seemed to jar with the music.  I thought that the clichéd Indian arm movements and gestures lacked any finish.  At times the traditional Indian arm movements were not sharp enough and far too quick for the music thus creating a blend of the bold and the blurred!

The pas de deux in Act One were messy and appeared awkward as they were full of tricks that had no flow and thus no polish.  The lifts were at times executed like throwing a sack of potatoes over your head.  This was not the fault of the dancers but the design of the entry into some lifts that had no  flow or connection.  While the Act Two pas de deux had better flow, transitions and musicality. 

The finale of the temple destruction scene was a miss-mash of theatrical corny devices and lacked focus and drama.  Compare this to the very camp but more dramatic destruction scene in the  "Samson and Delilah"  sequence in the Las Vegas production of "Jubilee" that has been running since about 1981.

Amber Scott as Nikiya, a temple dancer was sublime in this role with magnificent pure lines and elegant port de bras.  She was ably supported by Ty King-Wall as Solor, a warrior.  They danced well individually and together made the best of the choreography in the various pas de deuxs.  It was not until Act Two that we saw them really connect to create some magical dance full of emotion.

Ako Kondo as Gamzatti danced assuredly with some delicate fine pointe-work and steely stances. I have seen her dance better with more complex choreography and as I have earlier predicted she will be promoted to principal by the end of 2014.

Overall a very corny narrative ballet with a cleaner ending.  Though decidedly better as a narrative ballet than the recent "Romeo and Juliet" with choreography by Graeme Murphy that excelled this version of "La Bayadere."