Gilligan's Island, Humdrum Comedy and Left Bauer Productions, Chapel Off Chapel, Saturday March 3rd 2018

Gilligan's Island, Humdrum Comedy and Left Bauer Productions, Chapel Off Chapel, Saturday March 3rd 2018

"Gilligan's Island The Musical" was presented by Humdrum Comedy and Left Bauer Productions at Chapel Off Chapel on Saturday March 3rd 2018.

For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. 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 write for my memories of what I have seen, and is more of a stream of consciousness.

"Gilligan's Island The Musical" created the atmosphere of the iconic television show as soon as you entered Chapel Off Chapel.  The stall for programmes was attended to by a couple sporting Hawaiian leis.  On their table was a large book containing cut-outs that appeared to be a copy of the programme.  The programme cost $5.00 and was exceptional value and other theatre companies' should take note of both the price and quality of the programme.  The inside cover states the full date of the season, including the year 2018.  So many other companies' do not put the year which can be off putting.  Notice how few of the posters in the Chapel Off Chapel foyer actually state the year of their production.

Entering the theatre was a joyous welcoming experience.  "The Skipper" (full name: Jonas 'The Skipper' Grumby) was played by Sam Marzden welcomed and directed patrons to their correct aisle.  Other cast members acted as ushers to direct patrons to their seats.  This was all improvised in character and developed an atmosphere of fun.

As "Gilligan's Island The Musical" was about to begin the cast assembled on the makeshift stage.  "The Skipper" graciously asked that audience members who wanted to take photos do so now and then to turn off their phones.  He also requested that there be no photographs or recording during the performance.  The cast struck poses and allowed about two minutes for photos to be taken.  Then the show began.

The opening number was well staged and slick.  Sadly a rude woman in C Row held her phone up recording and blocked people's views.  I hopped out of my seat and asked her to turn it off.  A few people were aghast, but my partner told me after the show that another man jumped out of his seat and did the same thing on audience right.  By turning off your phone is showing respect to the  performers and other audience members. More people need to call out this rude and selfish behaviour.  (At "American Idiot" on Thursday someone called out "Turn off your phones").  We do not pay good money to watch or be distracted by screens, phones and other devices!

"Gilligan's Island The Musical" pays homage to the iconic television show, "Gilligan's Island" and is a fun dinner theatre style show.  It is a perfect vehicle as a sing-a-long for the opening and closing numbers.  The show is light and fluffy with lots of double meanings.  The cast made the most of the material and thin plot.  The cast are better than the actual material.

Gilligan played by Riley Nottingham with requisite panache and vaudevillian interaction with "The Skipper".  Physically he was not skinny enough with his muscular frame, but more importantly he captured the spirit and essence of Bob Denver's Gilligan.  Riley Nottingham has a good voice and charismatic presence and he is a performer to watch in the future.  The traditional coda scenes, where "The Skipper" and Gilligan bed down for the night, were staged simply and effectively.  Standing up sleeping gave us the illusion of a plan-view that was used in Sydney Dance Company's  "Poppy" and  the musical version of "Hairspray".  As each performer held the top of the hammock above their heads the sense of  swinging was immediate.  Riley Nottingham's timing was terrific particularly when leaning on the bench and sliding forward.

Sam Marzden was terrific as "The Skipper" and paid homage to Alan Hale Jnr with his moves and facial expressions and vaudevillian antics.  At times his voice sounded similar, and his characterisation was not an impersonation but an honest portrayal of the essence of "The Skipper".  His performance was beautifully understated as it could have been hammed up.

At first I thought that Thurston Howel the Third and Mrs Lovey Howell played by Joshua Monaghan and Lauren Jimmieson were too young for the roles.  They are twenty to thirty years too young for the roles, but wow they both did a terrific job of capturing these wonderfully flamboyant characters.  Sadly the costumes for them did not do their performances justice as the costumes lacked the classiness of their characters.  In particular the yellow dress and green stockings for Mrs Lovey Howell looked ridiculous and tacky.  Joshua Monaghan was cartoon-esque with his make-up, but his facial expressions, twitches and tones channeled the immortal Jim Backus.  His soft shoe dance was a bit heavy and needs more vaudevillian lightness and ease.  Lauren Jimmieson captured the glamorous spirit of Natalie Schafer.

The movie star, Ginger Grant played Alexia Brinsley captured the essence with her moves, though her vocals lacked the huskiness of Tina Louise.  Her audience participation was terrific.

Kaya Byrne captured the pedantic nature as the Professor Roy Hinkley.  Upon entering the theatre he remained focused on the stage correcting items rather than interacting with the audience which was a fabulous touch. He channeled Russell Johnson throughout, and his song "The Professor's Lament" was a fine solo where he resisted hamming up.
  

Molly Fisher as farm girl, Mary Ann Summers not only looked like Dawn Wells but sang like an angel.  Her duet with Gilligan was terrific as they captured the innocence of the 1960's youth.  Molly Fisher's characterisation was sincere, honest and solid. Her exit trying to emulate Ginger Grant's swaying hips was awkward, and hilariously funny.  She absolutely nailed this role and won so many hearts.

Director, James Cutler achieved a good job from this fine cast as they captured the essence of the television show and 1960's.  The quick sand antics were well staged, as was the sense of distances beyond.  James Cutler should be proud that he elicited so many fine performances from such average material.

Sadly some of the costumes by Jodi Hope did not work for the Howells as they lacked sophistication and class, while those for Ginger and Mary Ann were sensational as they differentiated the types of characters.  The costumes for the other cast members worked well.  

Musical Direction by Xavier McGettigan led a competent band.  Some of the individual singing was a little off at times and was not disconcerting as they nailed the essence of each character.  The harmonies were basic and generated a sing-a-long atmosphere.

Choreography by Kai Mann-Robertson was fun and particularly strong in the opening sequence.  The "Hieroglyphics" trio with Gilligan, "The Skipper" and Professor in Act One was fabulous, though some moves lacked definition and could have been executed with more precision.   "Gilligan's Island The Musical" originated in a demo-recording 1980 and preceded the stage musical version of "Mary Poppins the muscial" that included a similar gestural showstopper  "Supercalifragilisticexpialidocious".

Lighting Design by Rob Sowinski created definite locations and atmospheres.  He captured the moods of the television show and transported us back in time.

Set and Props Design by Adam (Gus) Powers was terrific, as he created that knock-about-quality of make-shift improvisation that were functional and effective.   The bamboo stage reminded me of the Hamlet episode from the television show.   Memories of that theatrical episode flooded back upon entering the theatre.  To have a stage upon a stage was a clever move as it highlighted the switching mediums of stage musical from a television show.   My favourites included the vaudevillian signage, the hammocks and back-scratcher hand. The classic prop of using sheets used as curtains still makes me laugh as to why a three hour cruise would carry so many items.  This was pure simple genius that captured the simplicity of the television show.  The suitcases could have looked a bit more battered around but that also adds to the ridiculousness of the show.  I really look forward to watching the career of this fine designer, and remember his name: Adam (Gus) Powers!

The cast and crew of  "Gilligan's Island The Musical" should be very proud of their efforts as they worked wonders with some very ordinary material.

This company should consider other iconic television show musicals as in "Beverly Hillbillies The Musical" by Theatre at the Centre that premiered in Munster, Indiana in August 2014.

"Gilligan's Island The Musical" obtained a 6.5/10.

American Idiot, Comedy Theatre, Thursday March 1st 2018

American Idiot, Comedy Theatre, Thursday March 1st 2018

"American Idiot" presented by shake & stir theatre co and Queensland Performing Arts Centre at the  Comedy Theatre, Thursday March 1st 2018.

For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. 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 write for my memories of what I have seen, and is more of a stream of consciousness.

"American Idiot" presented by shake & stir theatre co and Queensland Performing Arts Centre at the  Comedy Theatre, Thursday March 1st 2018.

Direction by Craig Ilott scraped the bare essentials from the show.  The emotional journey of each character was lost on the audience as the main performers were not secure in their characterisations. The relationships between characters were nearly nonexistent. The staging was well done and sadly the performances did not elicit the emotion from the material.  The audience barely applauded during the show.  I remember crying my eyes out on two occasions as the Broadway performers brought out so much angst and truth from the material.  Sadly this depth was lacking in this production.

Interestingly I think the show worked better during the Obama years to counter point the messages, rather than the in your face Trump years.  The show has blandness and seems like the "Me Too" equivalent for satirising Trump. It lacks any protest.

The choreography by Lucas Newland captures the essence of the show, but sadly the execution of the choreography was very questionable - with some performers walking the moves.  We were in the front row and did not miss a trick.  For example: when the new recruits lined up in their white underwear for inspection; the military officer lacked authority in his gait.  Then the performers marched off in various modes of carelessness.  The costume change for Tunny could also have been choreographed better to allow for his jacket to be prepared rather than him swinging the coat around.  Feed him the jacket so that he can slide his arms into it!

I look forward to seeing more of Lucas Newland's choreography in the future.

Only one performer was consistently hitting the moves - she was wearing a black short skirt with stripped socks in the opening sequence.  I think this was Erin Clare who displayed consistent angst and depth of any characterisation.  

The other performer who shone was Connor Crawford as Tunny who showed us a glimpse of what this show is about.

Vocally the show was very average with only the finale capturing the rich vocals and harmonies that were so missing throughout.

Lighting Design by Matthew Marshall was slick, clean and sharp as it created defined spaces,

Video Design by Craig Wilkinson was effective to create moods and atmospheres.

Set Design by Josh McIntosh was a variation of the Broadway set and was very effective with the video screens housed into the set.  The trolleys were too clean for their purpose.

The band was easily the best part of the show.  So congratulations to the Music Director Glenn Moorhouse and the Sound Designer Julian Spink.

The performers seemed to be on edge or cautious.  They seemed to be holding back.  Whether this has anything to with after effects of the recent sacking is anyone's guess.  But I witnessed a very lacklustre show with barely any applause.

My partner described the performances as shocking!

"American Idiot" obtained a 6.5/10.