Ladies In Black, QTC at MTC, Sumner Theatre, Wednesday February 17th 2016

Ladies In Black, QTC at MTC, Sumner Theatre, Wednesday February 17th 2016

"Ladies In Black" is a production by QTC at MTC.  This is one of the best Australian musicals I have seen in years, and, one of the best musicals I have seen full-stop in years.  Much laughter, sighs of recognition and moments of poignancy created one of the best experiences at the Sumner Theatre on Wednesday February 17th 2016.

For those new to my blog I write about the holistic experience of attending the theatre.  So if you want a re-telling of the story please refer to the links for further information or for further insights.  Note, that I may provide different links for repeated main words or phrases.  I also mainly write for my memories of what I have seen.

I want to see this musical again as it is so rich in the Australian history of manners, and highlights how the way of life is so different from today.  The main story revolves around Lesley/Lisa working at Goode's department store and her dreams of going to university to study literature.  There are themes of sexism, wage discrimination and feminism. Other themes include the clash of European culture and fitting in to the Australian way of life.  One of the most poignant themes is that of inclusion into the workforce and being invited into co-worker's private lives.

The script by Carolyn Burns is tight and develops each of the characters's stories as if we are a fly on the wall.  The musical has hilariously funny moments contrasted with stories of  hope, despair and being Australian.  This is one of the tightest scripts for not only a new production, but any production, without any extraneous action or dialogue.

I loved the structure of the script and how the four main stories neatly and confidently concluded. The musical allowed us to empathise with the hopes and expectations for a better future for each of the characters.

The music by Tim Finn is memorable and hum-able.  The lyrics at times are corny but are so much fun.  They are typically Australian and pay homage to the 1950s larrikinism as well as the sophistication of Stephen Sondheim.

The orchestrations and musical supervision by Guy Simpson brought Tim Finn's music to a theatrical life.  Musical Director, David Young led the small orchestra with gusto.  The singing by the cast was terrific with the occasional off note - that did not bother me, as the various accents used in the production added authenticity to the character's voices.

The designs by Gabriela Tylesova are sublime paying homage to her earlier work "Love Never Dies" with the columns and also "Aspects of Love" designs by Roger Kirk with the use of the revolve and the sweeping curtains. Gabriela Tylesova's costume designs are sublime ranging from the glamorous to the 1950's practical.

The direction by Simon Phillips is rich in details without superfluous histrionics.  Simon Phillips has a way to allow his actors to transform themselves into real characters.  His transitions between scenes are seamless and some of the best that I have ever seen by creating clear  focus for the audience.  

The choreography by Andrew Hallsworth was not distracting but intertwined and assisted to carry the story.

The opening song "Got it at Goodes" sets the tone for the musical while the second song "Soon I Will Be Me" also sets the tone for the insights into the various female characters.  This song comprises three solos by three of the characters that intertwined towards the end of the song.  Beautiful and it reminded me of "At The Ballet" structure from "A Chorus Line."

Lisa Morrison as Lesley (re-imagines herself as Lisa) is superb in this Cinderella role.  Lisa Morrison lives the struggles with her hopes of attending university competing intellect and family and societal expectations.  Lisa Morrison sings and acts with sincerity and has us following her journey whilst working over the Christmas holiday at Goode's department store.

I had tears in my eyes on a few occasions with the humanity shown by various characters. Deidre Rubenstein's two main characters (Miss Jacobs and Mrs Crown) were poles apart in identities. Diedre Rubenstein immersed herself into each of these characters that differed with such depth and reality that made my heart beat and tears well up.   Her characters differed in voice, posture, mannerisms, centre of energy, gait, and soul were so rich in their detail.  Miss Jacob's final interaction with Lisa was so believable in their connection and relationship - it had my heart pumping and tears welling in my eyes.  Thank you Deidre Rubenstein for bringing these characters to life. 

Mr and Mrs Miles played by Carita Farrer Spencer and Greg Stone with authentic 1950s sexism and status.

Kate Cole played Miss Cartwright with grace and elegance and then counter-pointed this with her very ocker characterisation of Joy.  A terrific difference of body, voice and characterisation.

Lucy Maunder as Patty played opposite Andrew Broadbent as her husband Frank.  Their relationship has a conflict in their desire to have children.  Their story arc is thread throughout the musical.  At times it felt like watching an episode of "The Sullivans" with their turmoil and desires.  This is a compliment as they played with sincerity and created a tense atmosphere.

Kathryn McIntyre ably played Dawn with the requisite ocker-isms and mannerisms.  Her characterisation was endearing and warm.

Bobby Fox played Rudi with theatrical pizzazz and flair.

Madga played by Christen O'Leary had fiery European theatrics and gesticulation.  Stefan played by Greg Stone was in total contrast to his role as Mr Miles.

Naomi Price created a terrific journey for her character Fay.  The opening scene of Act Two was fun and transported us between her fantasy of "Anna Karenina" to her reality at Goode's department store.  Her hopes of finding a husband were poignant as she possibly was going to be left on the shelf waiting for her man.  She did not play this role with desperation but with hope and expectations.

The bar scene between Frank (Andrew Broadbent) and the barmaid (Kathryn McIntyre) created an atmosphere that shifts to uncomfortable.  The transition to the men's urinal is revealing on two fronts: showing the inner sanctum of the men's toilet and the inner thoughts of Frank.  

Act Two opening was a scene from "Anna Karenina" that quickly transformed into Goode's department store. This quick scene explained the fire of passion and absorption that a book can have on its reader.  The transformation from fantasy to reality received wonderful acknowledgement with the audience laughing.

It was also magical how the snow transformed into the sands of the beach for Christmas Day.  The audience loved Christen O'Leary's accent for Magda and how she would drop in the occasional ocker-ism pronunciation.   This paid homage to every migrant who has struggled with the Australian accent.

The post Christmas Sale scene was memorable with the sales staff all lined up across the stage; some even holding hands to brace themselves.  The lighting changed to red as the customers ran into the store.  This was hilarious as was the horror on the faces of the sales staff.  Such a simple and effective scene.

The programme had informative articles and biographies of the cast and crew.  Best of all it had the song list like an old fashioned musical programme.

I cannot wait to buy the cd of Tim Finn's "Ladies In Black" to recall the beautiful music and telling lyrics.

I would love this show to travel to Broadway with this cast to show what an Australian story is, rather than having an Australian musical modified to make it more accessible for American audiences.  A programme would need a glossary of Australian sayings and include a map of Australia with Manly, Mossman and Wagga Wagga highlighted.

I cannot wait to see "Ladies In Black" again.

My partner gave this show a 9/10 and the following morning changed it to 9.5/10.  I gave the show a 9/10.

Thrill Me, Chapel Off Chapel, Thursday January 28th 2016

Thrill Me, Chapel Off Chapel, Thursday January 28th 2016

We saw "Thrill Me" by Stephen Dolginoff at Chapel Off Chapel, Thursday January 28th 2016.  It is one of the best small cast musicals I have seen in a long time!

For those new to my blog I write about the holistic experience of attending the theatre.  So if you want a re-telling of the story please refer to the links for further information or for further insights.  Note, that I may provide different links for repeated main words or phrases.  I also mainly write for my memories of what I have seen.

"Thrill Me" originated at the York Theater in New York in May 2005.  If you have seen the Alfred Hitchcock film "Rope"  you will know the story.  The musical has a terrific story arc with no humour until toward the end.  The humour made me squirm in my seat and is so evil and cringe worthy.

Starring two of the finest young and talented actor/singers it is great value at $35 per ticket.  The musical has a twist that you will not see coming.

Vincent Hooper as Nathan Leopold and Stephen Madsen as Richard Loeb are sublime in their roles in this warped and twisted tale of manipulation and sexual favours.  Vincent Hooper clearly changes from a 15 year old to the 49 year old caged prisoner requesting parole.  His body, voice and characterisation are so believable.  While Stephen Madsen's character is so manipulative as a younger man and matures into the equally manipulative self. Though his ageing transitions are not as crystal clear it is because the character is so evil throughout his whole life.  This did not bother me.

Designed by Daniel Harvey, the set is made up of pallets that create the raised stage with a sinister "walking on egg shells" feel of manipulation in their relationship to the actors.  The stage floor pallets also created the image of "walking on a tightrope" as the actors nearly trip and twist their ankles,  Yes the floor is dangerous but so are the characters' actions.  The backdrop is a further nine pallets that create the image of the bars of a prisoner cell or the broken wall boards of an old barn.  An evocative set with also a raised platform of more pallets on stage left, and a higher set of pallets on stage right that create many scenes - the parole board desk, prison cell, bonnet of a car etc.  This set is so perfect for the era.

The props helped create authenticity to the era. Costumes were also well selected for their function and creating characters through their 34 year time leaps.

Lighting design by Jason Bovaird works well at times.  Some of the problem seemed to be the execution of the lighting plot with two lights flickering and appeared faulty.   My partner said it was very amateurish lighting design and execution.

There are banks of lights which are hung to the back drop of nine pallets.  At times the lighting is effective.  Sadly the lighting let down the show.  At times the lighting was very specific to location but was not focused enough for other scenes.  Nor was the differentiation between some settings. The parole room interview room, the holding cell, the bedroom, bonnet of the car, outside etc was made clear by the actors rather than the support of the lighting.  For example a green light created an outside area and only half worked as the other side of the stage was so bright.  The green light took ages to enlighten the area.

Musical direction and accompaniment by Daniele Buatti created the varying shades of emotions and tensions from both the actors. Daniele Buatti did not distract the audience and was ideally attired in suitably historical clothes.

Programmes should be more centrally located rather than at the door as you enter the theatre.  I would have enjoyed reading the programme while waiting.  Not enough marketing thought is put into providing initiative and customer service in selling the programmes.  A gold coin donation is great value.

I provided feedback to the front-of-house staff that the year 2016, was not publicised on the "Thrill Me" posters, brochures or programme.  I suggested that they make the dating of all printed matter needs to be the standard for the future.  Sadly so many posters on the Chapel Off Chapel's walls do not have year dates.  Oh so much history is so vague:  "Oh when was that show on at Chapel Off Chapel?"

Loved the show.  The lyrics are stirring.  There was one song that sounded familiar and I think the song was "Afraid" which reminded me of "A Little Priest" from Stephen Sondheim's "Sweeny Todd." There was another part of a song that also sounded like another tune.  But you know what - I do not care as I loved the show.  I am not suggesting plagiarism but so many songs can remind us of another song.

I loved the sexual tension and the superb cast who held the audience as voyeurs or hostages to their story:  We could not change anything.  It was sickening that we could not change the outcome and also reminded me of "Sequence of Events" by George Macewan Green and "In Cold Blood" by Truman Capote.

The play was well directed by Terence O'Connell and created the three act clarity of a drama within the succinct short playing time of about 75 minutes.

Sadly this short season was not available for my friends to see as we saw it late in its season.

I want the Cast CD cast recording YESTERDAY!

Congratulations to all involved.  It was superb and both my partner and myself gave this a well deserved 9/10.  That is rare for us even with the lighting hiccoughs.