The Beautiful Game, Manilla Street Productions, Chapel Off Chapel, Wednesday September 25th 2019

The Beautiful Game, Manilla Street Productions, Chapel Off Chapel, Wednesday September 25th 2019

"The Beautiful Game" was presented by Manilla Street Productions at Chapel Off Chapel, and we saw a performance on Wednesday September 25th 2019.

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.

"The Beautiful Game" with a Book by Ben Elton, and Music and Lyrics by Andrew Lloyd Webber was presented by Manilla Street Productions at Chapel Off Chapel, and we saw a performance on Wednesday September 25th 2019.

I had seen Manilla Street Productions of “Pacific Overtures” that I overall preferred to the original Broadway production. The Manilla Street Productions version should have toured more extensively and warranted supporting this company to see what they would do with “The Beautiful Game”. Even though I had not seen "The Beautiful Game", I knew the music and story from the cd.

Programmes costing $10.00 are a bit steep, but at least the year 2019 was stated on the inside cover!  So many programmes and theatre posters do not have the year of production and it is my pet hate from a theatre history perspective for this oversight. So thank you for including the year for history.  The programme also has the songs listed. Why did they not state it was the Australian premiere on page three rather than just a premiere? Why are all the cast not photographed for the programme? This contrasts to the block of headshot photos announcing the cast in a pre-show email. I was disappointed that these photos were not duplicated in the programme.

Up front, I do not like the show, but this cast did a great job with very average material. I can now understand why this show never surfaced professionally after its London premiere. Yes, some of Andrew Lloyd Webber's music is good, but the dialogue is very average. The jokes in act two barely worked due mainly to the writing and then next to the setup, delivery and timing.

Congratulations to Manilla Street Productions for making a pre-show announcement. This is such a rare event at Chapel Off Chapel that special thanks needs to be made, as we paid $89 for our tickets and do not expect to be disturbed by “Twankers”.

A woman sitting in C4 took a photo and then kept texting during Act One. I spoke to her at the end of Act One. She then had the audacity to confront me in the foyer protesting “I only took one photo!”  I said “Didn’t you hear the announcement?” “No”, she said, and then continued “I have a sick child”. I thought but did not say “Why aren’t you with the child? If they can text you they .......”  I kept thinking "Where have you been?  Have you ever attended the theatre before?"

I was impressed at interval the two ladies at the programme stall asked me to talk to the director about my interaction with our mobile-phone-lady from C4. I explained the situation to them and they supported what I said. Impressive follow up as they took the time to determine disruptions to their show, and to ensure all patrons received value for money as a respectful audience.

The staging was simple and congratulations as they did not play right up to the front row of the audience.  A bank of lights about 1.5 metres from the front row that allowed for a demarcation point to end the downstage area and allow for a better view of the entire stage. Brilliant as this is only the second show at Chapel Off Chapel to not play right up to the front row. By doing so the audience cannot see the action downstage. So a hearty thank you as I do pay to be able to see the action.

The sound quality for the singing was good. The quality of sound for the dialogue was awful with a breathy, rasping annoying volume level that was way too loud. At least I could understand all of the dialogue, but I did not need the breathing.

The simple staging used cyclone and corrugated fences trucked in to become cells, walls, and other supporting structures. The two fence styles also subliminally represented the two sides of the fence with the Catholics and the Protestants.  When the different Catholic and Protestant characters stood either side of the cyclone fence this highlighted the geographical divide. 

The opening scene set the contract with the audience of what to expect in the simple staging. The opening was strong as the cast were watching a game of soccer.

Lighting Design by Jason Bovaird created many distinct locations. The use of the four banks of angled lighting replicated the atmosphere of a major football stadium. The dual scenes were clearly defined with different qualities to represent the distinct locations.  The divide of the Catholics and Protestants was emphasised by the red and green colours.  The lighting through the windows and the textured floor lighting gave this show a more professional quality than many shows I have seen at Chapel Off Chapel. Some of the lighting from the sides occasionally appeared out of synchronisation with what had just happened, as if the lighting cue was missed. Congratulations Jason Bovaird for producing some of the best lighting design I have seen at Chapel Off Chapel in a long time.  

Choreography by Sue-Ellen Shook captured the mood of the show, in particular the ball game sequence. The pub scene with dancing did not appear authentic 1969, but was a stylised version of the era also referencing Irish traditional dancing. The men had individual choreography that worked to create a united ball game. Some impressive male pas de deluxe included back rolls.

Musical Direction by Daniele Buatti produced some fine choral and rich harmonies. The occasional individual struggled with some notes but more importantly captured the emotion and drama.

Vocally, a stand out moment included the duet between Ginger (Gregory) and Bernadette at The Party (played respectively by Samuel Skuthorp and Nicola Bowman). Their innocent reticence and youthful anxiety was captured with sincerity and honesty to build our warmth to their characters for the drama that lay ahead.

Singing varied in quality with some rough or flat notes at times. Occasionally, screaming rather than projecting the emotion through the singing pushed the quality of vocal production. Sometimes the notes were pinched on the word “you”.

Bernadette was played brilliantly by Nicola Bowman with her depth of emotional connection to the music and lyrics. This was no solo as she created an honest relationship with Ginger (Gregory) played brilliantly by Samuel Skuthorp. I loved their developing relationship as if we were a fly-on-the-wall observing them.

Mary played admirably by Stephanie Wall sang with a deep burning passion during her a cappella “Is This What We’re Fighting For”. Her conviction was timeless.

The final scene told us what happened to the main players. This scene was well staged to clearly differentiate body movements for the individual characters by turning, exiting downstage for a death or exiting upstage as they left for personal reasons.

Stephen Mahy did a good job playing John, though I felt he was too old for the role to give it credibility. He has a good voice but occasionally screamed the emotion rather than allowed the emotion to sing through.

Oscar Tollofsen as Daniel played the role with impish and loutish gusto.  He did not play for laughs but for his next opportunity to score.

David Meadows played Father O’Donnell with good timing and commanding assurance.

Sam Ward as Del built a rebellious and believable relationship with Ellie Nunan as Christine. They performed their roles with youthful, sexual chemistry.

The Protestant Girl played by Sophie Loughran sang magnificent harmonies with Mary played by Stephanie Wall during the duet “God’s Own Country”. This duet emphasised the religious and political divide, and the sexist divide between the Irish men and women of 1969.

The Book by Ben Elton needs some work as it blocks the flow of the story. I understand the need for the music to aid in the scene changes but it felt so laboured at times and clogged the flow of the story.

The accents were strong for the opening but gradually declined in consistency for a few characters thereafter. Overall, the accents were quite consistent.

Atmospheres varied appropriately for many scenes. Some were more successful than others due to the training of the cast who understand their role in creating different atmospheres. The ensemble worked to create the moods for the crowd, the football game, the locker room, the pub, the bedroom etc. This atmosphere building was lacking in the duo scenes, except for the wedding night scene where there was an atmosphere of trepidation, fear and excitement.

One of my favourite scenes was the staging and acting for the announcement that Ginger (Gregory) had died. The mood was palpable as the characters tried to allow this news to sink in. When Bernadette (Nicola Bowman) announces “His name was Gregory”, I had my first and only tear well up in my eyes. This scene is where Ellie Nunan as Christine excelled in her thoughtfulness to create a compelling atmosphere. Ellie Nunan did not do much in this scene, but it was the quality of her and other performers that supported the scene holistically.

The farewell scene between John (Stephen Mahy) and Mary ( Stephanie Wall) did not weigh enough on the stakes for either character. It may have been rushed a bit as the atmosphere was lacking. We should have been in tears with the situation for one of, or both of the characters.

The knee-capping scene was well staged and had the requisite shock value, though the trio’s entrance lacked atmosphere of an invasion of privacy and security.

The confrontational scene between John (Stephen Mahy) and Thomas (Des Flanagan) built the tension with the scripted material. More work could have built the tension to a more uncomfortable level for the audience by working on the atmospheres.

Costumes and Set Design by Karen Jemison mainly worked with the constraints at working in this venue with the limited room for storage backstage. Some of the costumes did not fit the era - as I remember clearly the fashions.

The scene changes were completed with promptness, thankfully with the distraction of the tedious Andrew Lloyd Webber music. The bedroom scene set up and bump out was slick except for the mattress. A roll-up mattress would have been less clumsy and awkward for the scene set up and bump out. Maybe a roll-up mattress could have been stored on the side with the benches rather than lumbering awkwardly down the side aisle.

It is easy in hindsight to see these things. I do not understand all of the limitations of the production but this is what I felt after seeing the show. It is well worth the time and effort to to try different versions in rehearsals in order to maximise the best product.

Finally special congratulations to Nicola Bowman as I have watched her grow as a performer and I look forward to seeing her next work.

Director, Karen Jemison, cast and crew with Manilla Street Productions are to be congratulated for producing a good show from an average script.

The story is better than the Book by Ben Elton.  The book of the show by Ben Elton  itself only warrants a 5/10. While the music and lyrics are worth about 6/10.  This story deserves better.

Overall, congratulations on a 7/10 for the performances of a very average show.

On The Town, VCA Music Theatre and Production, Studio 28, Friday September 20th 2019

On The Town, VCA Music Theatre and Production, Studio 28, Friday September 20th 2019

"On The Town" was presented by VCA Music Theatre and Production at Space 28 in Southbank. We attended the Friday September 20th 2019 performance.

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.

"On The Town" with Music by Leonard Bernstein, and Book and Lyric by Betty Comden and Adolph Green was presented by VCA Music Theatre and Production at Space 28 in Southbank.

Programmes were handed out as you entered the theatre’s foyer with a welcome. I was impressed that the programme had the year 2019 on the front cover. Gold marks for this as so many programmes have a year hidden within the depths of the content.

I would prefer a programme in the style of Playbill with all songs and scenes listed.  Even if not in the Playbill style, then at least list the songs.

The original Broadway version of "On The Town" had a an enormous cast with all roles listed. “On The Town” 2014-15 revival cast had a smaller cast with every actor listed with multiple roles. Why could they not do that in the VCA programme? This would give the students and audience members a souvenir to remember their performances.  Plus these performances are meant to be a showcase for agents, casting directors and potential employees, and as such they should be able to quickly recognise and reference the talent.

The Space 28 is more of a black box style theatre, and it is such a shame that the VCA does not have a fully functional theatre with fly towers for such performances. These students who pay mega dollars to train deserve better than this venue.

One of the best aspects of the production was that they did not play so close to the front row of the audience.  So many productions play way too close to the front and block the view for the audience beyond B row.  Director, Adam Mitchell should be congratulated for heeding Hal Prince's experience.  Hal Prince would ensure and respect that every audience member could see the stage action from every seat.

Given the limitations of the space, the direction and scene changes in conjunction with the design elements let the show down by dragging the action unnecessarily.

The other thing that really dragged down the performances was the sound levels were not activated in anticipation of the performers' lines. During the first act the microphones would be activated mid sentence and sometimes at the end of the actor’s first line. This was not a dress rehearsal and was at least the seventh performance. Thankfully, the sound improved for act two with less jolted switches of the microphones.

Direction by Adam Mitchell worked better in some scenes than others from staging and performance perspectives. The scene changes in act one in particular were very clunky and needed more distraction techniques to create seamless transitions. The best scene change/segue occurred when the two men (wearing shorts) were stage left as the crew changed the set centre stage.  The lighting also focused on these two men.

Lighting Design by Lachlan Maclean provided some clear locations by focusing the lights to create the subway train etc. More could have been done with the lighting to achieve varied locations and atmospheres.

Set Design by Freya Allen was limited by the confines of Space 28 and did an admirable job in the simplicity and versatility of the main set. Trucking set pieces may have reduced the noise backstage and the hauling of the sofa. The use of the cut-outs of the Empire State Building, Chrysler Building, the Brooklyn Bridge and the Statue of Liberty were simple and effective to evoke the locations.

Costume Designs by Abby Reeves-Williams did an admirable job with obvious budgetary restraints. Some of the shoes needed to be polished for the era, and some of the work clothes needed some grime for authenticity. I assume Abby Reeves-Williams would have been responsible for the hair and makeup. The women generally were more in the war time era of the show than the men. Long hair for some of the guys was not appropriate and wigs could have been used. Some of the men looked slick with their period appropriate hairstyles. Some of the police costumes looked as if they were from a high school production. The shoes should match the costume for the character’s style - not cream coloured heels for a policeman’s uniform!

Musical Director, Geoffrey Castles did an admirable job, though the finale was when I heard the potential of the rich ensemble realised.  I have seen versions of this show before and was disappointed that the richness of the ensemble only occurred at the finale.

Singing by individuals varied in quality. Accents sometimes changed within lines, but were generally much better than when I saw “Flora, the Red Menace”.

Characterisation was more consistent than in “Flora, the Red Menace”. There were some fantastic cameo characters that were consistently maintained. In particular the man as the drunk, Christopher Burgess trying to gatecrash the three sailors at the nightclub was magical in timing which was supported by the ensemble all creating an atmosphere. (See Michael Chekhov for atmospheres!)

Sound Design by Nathan Santamaria may not have been fully realised and delivered by the technicians. See my earlier note. Rehearse, review, revise and rehearse, review, revise until it is slick. This should have been corrected during technical runs.

Choreography by Kirsten King utilised the strengths of a cast of varying dance talents. I was impressed with the acrobatics during the Coney Island scene, as it would have been appropriate. See the history of the Chicago Worlds Fair of 1893 that testifies to the use of speciality acts. The ladies dancing in the red, white and blue at the start of act two was slick and professional with energy and enthusiasm that I expected more of in act one. Finally I saw what the cast could be capable of, as the dancing was a bit laboured and cautious in act one.

The sailors' routine showed the men could all move in unison. Choreographically the men's ensemble routine should have been more exciting and dynamic as this is a dance show. The leads need to be sensational dancers and not be shown up by the ensemble. That is not to say the three lead men were not good, they did an adequate job, but lacked the breathtaking charisma for the dances.

Well done Kirsten King for choreographing to the ability of the cast.

Erica Wild as Hildy maintained a consistent character and has a lovely singing voice. I enjoyed her interaction with Chip, played by Joseph Howe. I felt the stakes were higher for Hildy than for Chip with his 24 hour sojourn in NYC.

Tom Kantor as Gabey has a lovely voice and danced well with the choreography. The Gabey role deserves choreography that wows the audience.

Claire played by Jessica Barton and her character varied in consistency during the drinking sequence.   She seemed to suddenly sober up.  She sang quite well but I wanted more relationship building with Ozzie played by Noah Jansen. I felt sometimes they rushed through rather than playing the stakes/weight of their 24 hour relationship.

The boxing ring dance sequence was well danced by Tom Kantor and Erica Wild.  He needs some coaching to fully support in the pas de deux as some of the anticipation meant he did not fully prepare in some lifts.  I wonder if they have pas de deux for the three years of the course!? This was the best duo for creating story through dance in this show.

Staging and interaction with the conductor created some very funny moments, including taking the conductor’s baton. The moment that caught the audience off-guard was the gargling scene that received requisite recognition of laughter and shock.

Ivy played by Darcy Eagle, sang well and danced at the minimum level that I expect for the main female leads for “On The Town”. Her lines were clean with fluid port de bras and strong extensions.

Finally, Lachlan Bartlett gathered more confidence and assurance as Pitkin with his stylised characterisation that showed a clear journey for his character.

Energy levels of the ensemble varied and needed more atmosphere work.  See Michael Chekhov books and training for more information about atmospheres.  Some listening did not occur as some reactions occurred before a line was completed.

I would recommend that the cast should have watched two documentaries Ken Burns' "The War" to really immerse themselves in the atmospheres of World War 2 era.  Plus, I would recommend Ric Burns' "Coney Island".   Did the cast all ride the Scenic Railway at Luna Park?  If they did not, then they need to do their research to understand the connection to Coney Island and Luna Park.  All of these final comments relate to an obvious need to develop their ensemble atmospheres so that the audience feels as if they are there rather than just watching a show.

Overall, “On The Town” obtained a 6.5/10.

LINKS:

https://finearts-music.unimelb.edu.au/showcase/production-2019

PS:

If any students are reading this - demand of your lecturers and mentors to develop your skills holistically with some of my observations.  I want you all to succeed in such a tenuous business and you all need to be fully prepared.

Australian Realness, Malthouse Theatre, Merlyn Theatre, Saturday September 7th 2019

Australian Realness, Malthouse Theatre, Merlyn Theatre, Saturday September 7th 2019

"Australian Realness" was presented by the Malthouse Theatre at their Merlyn Theatre on Saturday September 7th 2019

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.

The 2019 Malthouse Theatre Season included the production, “Australian Realness” by Zoey Dawson and made us wanting a refund for the 2020 Season that we have just purchased. This show is a philosophical presentation of class, the arts and society.

“Australian Realness” made me question how this show even got past a reading, let alone into a full production. This play is so confused in its style of theatre making and messages it is trying to convey.

If you read the blurb by Zoey Dawson in the programme you will understand what I mean. 

Whilst waiting for the show to begin, I studied the set. The vastness of the set alerted me that something was going to happen with the set as there was a cavernous void at the top of the set. I suspected correctly that the set would deconstruct.

It is a confused work as the initial contract with the audience is broken to then become a soap opera type nightmare with characters from the shed invading the family home. But what makes it confusing is the inconsistency in lighting for each of the Hogan characters.

The play tries to be too many things and is in desperate need of pruning and clarification.

The performances vary from cringe worthy amateur to slick and polished characterisations.

In the Malthouse Theatre advertising for the show, the family wear red and white Christmas jumpers that reminded me of the Aldi Christmas campaign 2016 where the family all sing Christmas Carols. Sadly the advertised pictures of this show were not used, nor lived up to the marketing hype.

Performances varied in quality. Four of the five actors played more than one part and some made clear distinctions between their characterisations.  Linda Cropper clearly differentiated each character as mum; and then as Kerry Hogan, the squatter from the shed, and then the art broker/critic. Linda Cropper’s walk as the art critic/broker with her very quiet voice was sheer theatrical brilliant.

Greg Stone made a clear distinction with his dad role and then Gary Hogan.

The son played by Andre de Vanny was cringe worthy mainly for the block shape of the radio mike battery in his underwear. The audience were not concentrating on his performance but at the awful costume. His characters were not distinctive enough in vocal or physical attributes, but at least the costumes made the distinction.

Emily Goddard as the pregnant daughter was the main protagonist and created the main perspective, as the show was both her reality and her nightmare.

It was more the audience’s nightmare at enduring such a middle High School standard of writing.

Set and Costume Design by Romanie Harper created a television situation-comedy style set that pulled apart. The costumes created instantly recognisable cliched cartoon-esque characters. It was a family of the Village People.

Sound Design and Composition by James Paul created a variety of sounds from realistic sound effects to moody music. This too did not help create a coherent journey.

Lighting Design by Amelia Lever-Davidson created different atmospheres, but completely lost the audience at the first major lighting change with Kerry’s entrance. Was this a situation comedy for television? Was it a dream? The lighting plot did not follow the same contract with the audience in establishing clear parameters of what was happening. When the Hogan’s son appears doing a strip the lights black out to the front of stage lighting. When Gary Hogan appears the lighting again does not create that contract established in the entrance of Kerry Hogan. The lighting plot lacked clarity of purpose and vision. It did not articulate when we were in dream mode as clearly as many other shows that I have seen. In other words, the lighting design helped create a confusing piece of theatre.

I did like the stark lighting for when the man (Andre de Vanny) was setting up the art installation. This starkness at least commanded our attention to make us question whether this was reality or fantasy.

The penultimate section with the video sequence reminded me of “Titus Andronicus” at the 1993 Melbourne International Festival  with the van driving out of the theatre. We were taken out of our reality of the theatre into a new reality.  (Note the name of the festival changes between about four names including Melbourne International Arts Festival.  It was just the Melbourne International Festival in 1993!)

The supposed live video shows rubbish piled up with a woman burning page-by-page a copy of “Cloudstreet” by Tim Winton. There were a a couple of references here as “Cloudstreet” had been performed earlier this year as part of the Malthouse 2019 Season, and also the link to the new reality of the homeless.   The daughter realises that this woman was the subject of her photograph. The daughter finds a new reality in understanding what happened to this woman.

The final scene of the house redecorated with an empty set, and the family miming sitting down to dinner with no furniture had us question reality.

Overall, the departments seemed to have worked in isolation rather than in harmony to create a confused work.  Janice Meuller, the Director needed to ensure everything worked to create a memorable work rather than a confusing piece not worth debating.

Never complain about “King Kong” doing 322 performances and 22 previews on Broadway. This show would be lucky to run a week on Broadway - if any producer (of even a not-for-profit company) would allow it to be produced there.

We both gave this a 5/10.

Nutcracker, The Australian Ballet, State Theatre, Wednesday September 18th 2019

Nutcracker, The Australian Ballet, State Theatre, Wednesday September 18th 2019

"The Nutcracker" was presented by The Australian Ballet, State Theatre, Arts Centre Melbourne on Wednesday September 18th 2019.

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.

I have seen this version of "The Nutcracker" by Peter Wright about four times now.  This was the second night and was I assume the second cast.  I have seen better performances of this ballet as some of the scenery, lighting and illusions were not up to their usual standard.

Dancing wise, some notable performances included Ako Kondo as the Sugar Plum Fairy, and Dana Stephensen as The Rose Fairy.  Both delivered crisp footwork with precision.  Imogen Chapman was the best Arabian female I have seen and was shown off by her very capable and powerful men: Sean Kiley, Joseph Romancewicz and Daniel Idaszak.  These guys made her a princess with their effortless support.

Marcus Morelli supported Clara with aplomb and assurance.

Having seen the Spanish Dance at least four times now, I do not like the choreography as it looks like pseudo Spanish.  Dimity Azoury outshone the men in this trio with the stances, poses and port de bras.

Brett Chynoweth had clean lines, with neat and assured conclusions.  His promenades en tournant with Ako Kondo were assured and I want to see this level of assurance consistently in lifts by slightly shifting his centre to be rock solid in his support of  Ako Kondo.

From the Dress Circle it appeared as if some of the cast were having a nice chat.  They may not have had a vocal chat, but more of in-house jokes by miming.  My partner confirmed this from the front row in the Stalls.  Yes, you can be seen from the Dress Circle. I pay big money to see top class dancing.  Keep in character and keep the jokes off stage.

On a high, my favourite moment was Sharni Spencer as the Snow Fairy.  I adored her, and congratulations for creating a lovely character with beautifully dignified dancing.

Overall, this performance of "The Nutcracker" received a 7/10.

The Prom, Longacre Theatre, Friday August 9th 2019

The Prom, Longacre Theatre, Friday August 9th 2019

"The Prom" was presented at the Longacre Theatre on Friday August 9th 2019.

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.

"The Prom" is an original musical with a Book by Bob Martin and Chad Beguelin and we saw it at the Longacre Theatre on Friday August 9th 2019.  Their book is tight, dense and rich.  It is full of love and hope; and so funny at times you want to cry at the depth of humanity on display.

Music by Matthew Sklar and Lyrics by Chad Beguelin is so beautiful and memorable. Each song captures a different mood and atmosphere without being didactic or patronising.  The cast sing the lyrics with such passion and dedication to this fine pair of composer and lyricist.

I write my diary and reviews for my memories.

We picked up our tickets at the Longacre Theatre on 48th St, opposite where “Hadestown” is playing.

"The Prom" is our favourite show on Broadway so far to today’s date Friday August 9^th 2019.  Wow, it is so uplifting and the audience were in party mode from the moment they arrived at the theatre.

It was a very powerful piece of musical theatre for so many people.

it was so emotional at times that I had tears streaming down my face, as did Paul, as did many audience members.

This show would do well in Australia as it is the underdog comes through theme. It is so uplifting with lots of twists and turns in the emotional journey.

More of  my review is to follow as I wrote so many notes, I cannot keep up.

Before the show we went to the loo in the lower level with a spacious foyer. Then we climbed I think about six sets of stairs to the top where the Balcony is located. There is a lift available, but we like the exercise and it gives us an opportunity to view the theatre from different perspectives.

At Balcony level the foyer/lobby is spacious and uncrowded.  A photo booth/background screen was located in the lounge area at Balcony level. Toilets for both men and women are also located at this level, though they are not as extensive as in the lower level. There is more than the one stall at the Longacre Theatre compared to the Walter Kerr Theatre's single closet at Balcony level.

I experienced probably one of the most moving sights that I have seen prior to a show that really set the scene for "The Prom" occurred before we took our seats. This event gave context to why so many young women and lesbians and gay men were dressed up. This event raised so many emotions and so many memories of my own teenage angst that my heart leapt.

A young lady with mauve streaks through her hair walked past us in the lounge area on Balcony level. She hesitated as she was about to take a “selfie” at “The Prom” photo booth. I saw her eyes dart to the left and she paused, then moved quickly to her left and sat down, she then hunched over slightly. I espied this from the corner of my eye, without making it too obvious I had witnessed a teenage angst moment.

I smiled across and asked “would you like a photo?” Her eyes lit up. She searched and found reassurance and acceptance. She stepped forward and gave me her phone to take a photo. I encouraged her to be herself. I talked to her as I took many photos, and explained that “I would take lots of photos so that you can choose the best one.”

She loosened up and relaxed. She began to feel pumped as her posture began to demand more space. She was growing inside with courage, or confidence. I encouraged her to make a fun pose now. My heart leapt and I had to control my tears not gratitude. It was like a daughter I never had, watching her blossom. I will never forget those moments as it was a great prologue to a sensationally moving and uplifting show.

The show was amazingly funny, poignant and full of love and hope. There are so many themes about respect, prejudice, diversity, bullying the list goes on.

Casey Nicholas, who also directed “Aladdin” and “The Book of Mormon” etc, has created a brilliant work that will be turned into a film.

Congratulations on giving so much hope to so many people.

We met two guys from Boston, and Courtney from Georgia sitting next to us in the front row in the Gods - the Balcony.  The theatre was in party mode and this was an event.

The show began about 8.09pm. I have not heard so much cheering and screaming of encouragement at a show for years. "The cheering equated to what we had witnessed  at the “Hadestown” curtain calls last Wednesday August 7th.   And the show had just started!  Many of the audience had returned multiple times. As this was the final weekend it was going to be a very special event.

Melbourne deserves this show. This show will be popular for schools for their drama programme, but also to teach social studies with themes of tolerance, bullying and diversity management.

The opening number is after an opening of a Broadway show. I watched the audience as well and they were spellbound and mesmerised by the performers. There was not a weak in the cast.

The jokes came quick and fast and the audience responded with enthusiastic laughter and cheering. Every entrance by the cast was a red carpet event with the screaming audience in adoration and respect for the performer's.

The book quickly introduced the set up of the show with the actors awaiting the reviews of their show. The acceptance and rejection theme set the scene for the show’s journey.

The joke about Tina Louise (Ginger from "GIlligan’s Island") appearing in “Chicago” was fabulous and established itself as a setup for followup jokes.

When the actors were trying to determine which cause to support, they went through a list of options. The “Electoral College should be abolished” received ear shattering screams, cheering and thunderous applause.

We were introduced to the concept of dual scenes and dual locations. The set comprised of vertical tabs that rotated. So when there was a dual scene sometimes the tabs would be showing one location of trees, while another may show a different location of the school hall.

The back screen changed via rotating screens with different visuals on each side. Maybe the screens are triangular to allow for three different scene changes.

This is such a snappy show that runs at a pace keeping energy levels high and our attention.

The four actors perform a number that reminds me of mama Rose from “Gypsy” where she talks about her next routine, or “”Let’s put on a show” Judy Garland and MickeyRooney style.

We are introduced to our leading lady, Emma played brilliantly by Caitlin Kinnunnen, who performs “Just Breath” in a spotlit solo. The tension and drama of the show is set as she wants to take her girlfriend to her school Prom.

The set flies in with lockers and the doors to the school gymnasium. Bunting flies from the rafters announcing the school logo.

The school gymnasium scene has stadium seating that reminds me of “Sitting Watching Jason (Play Baseball)" song "from “Falsettos”. The four actors appear bearing placards protesting for Emma’s right to take her girlfriend to the Prom.

The scene change to the location of the prom. There are two round tables upstage and four side tabs. Moon shaped balloons hang with four small round balloons underneath. The shape is very phallic. Six large spotlights focus on the dancing that becomes very acrobatic.

Emma enters

The entrance of Dee Dee Allen played superbly by Beth Leavel received megastar applause as she sporting a leopard patterned jumpsuit. The choreography pays tribute to both “Hernando’s Hideaway” from “The Pajama Game” and “West SideStory” with the clapping and posturing.

There were so many shows referenced in the brilliantly funny choreography by CaseyNickolaw: “Beauty and the Beast” and “Evita”. They performed a whole sequence that was a variation of the “Buenos Aires”.

We are introduced to the school principal, Mr Tom Hawkins played by Michael Genet. He acted well and though singing flat at times, it did not bother me as he gave a sustained and honest performance with great rapport with Dee Dee Ellen.

The second major tension was introduced. The joke about straight people liking Broadway and Dee Dee’s vomiting reaction was priceless.

Emma confronts the Principal, determined to resolve her own problem. She is more powerful in her self determination than the Ann Darrow character from “King Kong”. She epitomises the quiet achiever and underdog.

The booking into a the motel with the receptionist scene was hilarious, with one joke after another building the humour, but also emphasising the tragedy and desperation of these actors on their mission of self interest disguised as a cause for Emma. One trophy presented looked like a phallic object. When the receptionist recognises the “Talk to the hand” actor, they receive better service.

The changed with a swift lighting change where two large banks of lighting lowered from the flies. These lights shone brightly blinding the audience and was a great segue to the “Monster car rally” sign upstage. Again this scene built up the levels of desperation of these actors.

The “Monster car rally” sign peels away to reveal a poster of Emma. She is their scapegoat - their cause - their pretense to develop their own careers. The floor lights changed to green, and the cast of the touring production of “Godspell” arrive in their tasteless and gaudy 1970’s costumes. The house lights rise a few times as if we are at a revivalist meeting. The audience are again cheering. Wow this show is so much more fun than “Muriel’s Wedding The Musical”.   In fact, it is what “Muriel’s Wedding The Musical” should have been fun but with the underlying drama and tragedy.

There is a short chorus of performed in sign language. This version of the chorus is performed with patronising-head-tilting-smiles emphasising how minority groups can be excluded. It is very pointed and cutting in its humour. They are building the tension of how Emma is excluded in society.

The banner at the rally turns so into a rainbow flag.

Emma confronts the actors announcing “you really scared people”. She is not a wimp, but a lesbian who wants acceptance.

There is a great joke about what Emma should wear to the prom. Should she shop at Saks, Kmart etc?

The tension builds more to reveal more of Emma’s story of how she does not live with her mother. The audience are on the edges of their seats recognising how easy it is for a gay child to be turned from their home. (This is an example of what I wrote about in viewing the short video “Paris is burning” from “The Stonewall 50” exhibition at the New York Historical Society where they explain the house party scene for homeless gay children and teenagers in New York in the 1980s.). We had tears well up in our eyes at Emma’s plight, her courage and her resilience.

Another level is revealed that Barry Glickman, played brilliantly by Brooks Ashmanskas reveals he never got to wear his silver tuxedo to his prom. Emma is not alone in not having her dream prom. The prom is a milestone event in the American culture. Barry becomes a father figure, a protector and a mentor to Emma.

There is another dance number where the heterosexuals are inviting each other to the prom. There are variations on how each couple invites their respective partner. One guy brings out a placard. The dance scene has remnants of “The gym dances” (act one, scene four) from “West SideStory” which showed the racial divide, while here it shows the exclusion of the LGBT community.

The choreography here is fun, feet right, left, pointing right and left, hips swaying right and left etc. At times it reminded me of “Banana Boogie” from ‘The Fabulous Flintstones On Parade” (“YABBA DABBA DOO” in USA). This was the first time I noticed a lack of synchronisation, but only for a short eight bars of music.

Large silver balloons appear in the shape of the word “PROMS”.

The scene flies out to truck in the Applebee’s diner scene with three booths. This is where the Principal, Mr Tom Hawkins and Dee Dee Allen meet and flirt. The principal confronts a mother objecting to Emma attending the prom with her girlfriend. The audience are on tenterhooks and respond with lots of “oohs” as the scene cuts the air with a blade.

There are lines about making the world a better place and looking for a scapegoat. The “tell me about you” line receives hoots and howls of recognition from the audience. The atmosphere is counter pointed with the atmosphere of a waitresses working, students studying and teenagers dating.

The principal sings and is a bit flat. I do not really care as it shows his humanity and his acting is so compassionate and truthful for his care of his student’s welfare. The scene reminded me of the Herbie and Rose in the Chinese restaurant from “Gypsy”.

The Applebee’s booths truck off stage left, while Emma’s bedroom trucks forward from upstage. She sits on her bed with a guitar. I have tears rolling down my face when Emma announces “I have never been to her (girlfriend’s) house”. There is so much pain and reality in this show.

We are taken on an emotional roller coaster. The audience are dead silent with respect, recognition and hope. Emma has the audience in the palm of her hands. This is a sensational scene of inspiration and influence. I feel so uplifted that my heart pounds and pumps.

There is a “Kath and Kim” moment and a “Hairspray” bedroom moment. There are references everywhere. There is the “night belongs to you” and “Glinda” joke (referencing “Wicked”.). This is a powerful duo.

The bed trucks forward and the scene changes with the tabs turning to reveal trees reminiscent of Roger Kirk’s “A Little Night Music”.

The obligatory mother and daughter confrontation scene that was similar to a scene from “Legally Blonde”.

The scene changes to the prom with two round tables upstage and decorations. Moon shaped balls hang from the ceiling. They are very phallic as they have four round balloons underneath. Six large round circles spotlight the twelve dancers that builds into an acrobatic number, reminiscent of “Bring It On: The Musical”, but not quite as athletic and lacking the cheer-leading throwing and catching.

Lighting change to reveal the entrance to the ball where Emma is presented with a corsage by Barry. Emma asks Barry “will you walk me in?” His chest proudly rises as he is to be the surrogate father presenting his daughter for her debut.

Refresh scene from prom angle to see Barry walk Emma into the prom, to find a deserted venue. The mirror balls fly in last - pathetic and cutting - emphasising the tragic circumstances.

Scene change to where the mother escorts in her daughter, Alyssa played with restraint and composure by IsabelleMccalla.

The principal confronts Eleanor (Dee Dee Ellen) for using Emma to enhance their acting careers.

Emma sings a solo.

The stage splits into two scenes, with the tabs showing different venues. The two scenes juxtapose the action of two separate dances. It is revealed this is a different venue. As an audience member your heart sinks, and it is a great cliff hanger for the end of act one.

Interval:

It is 8.18 pm. On the balcony level the audience experience both in the theatre and in the foyer is very civilised and is much calmer than other theatres on Broadway.

I realised that this very young audience is so respectful with having their phones off during the show. More so, than I had seen with young audiences.

Whilst in the foyer, I saw a fashion statement that was very smart, a black man wearing all black t-shirt, jeans and boots. Over the top he wore a half black pleated kilt with black belt. The kilt draped from his centre front around his right hip to the centre of his back. Very chic.

ACT TWO:

Act Two begins at about 9.36 to thunderous cheering. I think the show is running overtime due to the audience’s enthusiasm.

The entr'acte music began and the audience were dancing in their seats. I suspected they were all doing the choreography from a dance number that would appear in act two. Yes, they were, I later realised.

There is a press conference where the PTA announces to the press their feelings about the events. “Go Cats” sign is in the background. (Quite appropriate for AFL Geelong supporters!)

The mother says “I love my students as much as my daughter”. OUCH! The audience is burnt and hurt, and they react accordingly lurching in their seats.

Screen flies out to reveal Emma’s bedroom. The actor’s enter and Emma has analysed the situation and cuts through to announce “No one is talking about the hate”.

Emma realises that “this is about more than the prom”. She is a quiet leader. There is an “I Dream Of Jeannie” blink joke. She rejects the actors’ idea and chooses to rectify things her way. She is independent and no wimp, she is no theatrical, but a quiet influential leader. She is the power warrior woman (unlike the "King Kong" assertion of Ann Darrow being such!)

Emma’s line is so moving when she announces “Rid the cancer of intolerance.” This is magical and palpable theatre.

“Understanding may lead to love”.

Angie played brilliantly by Angie Schworer motivates Emma. Angie looks like a young Patti Newton. There are great laughs about finding your inner strength, age jokes and “Chicago”. The dance number “Zazz” is fabulous as Angie rolls over the bed into the splits and other theatrical poses, which is similar to SuttonFoster performing “Show Off” from “The Drowsy Chaperone”.

There are lot of references to Bob Fosse and finding your inner strength and jazz hands. There is “A Chorus Line” four to eight bars of music dance break reference. There is finding your “pizzazz” and references “You’ve Gotta Have a Gimmick” from “Gypsy” both choreographically but emotionally.

Scene change from Emma’s bedroom to the Principal’s office.

Dee Dee Ellen (Eleanor) enters wearing her red and gold jumpsuit. Was it her costume from the show that the Principal was a fan of? She is rejected by the Principal “You are an opportunist!” He is disappointed in meeting the actress he thought he worshipped.

She re-enters with a dramatic slamming of the door, in a a more seductive outfit and pose. She tries to seduce Mr Tom Hawkins with her Delores characterisation. It pays homage to Bob Fosse and Gwen Vernon scene from the television series. It also references “Damn Yankees” scene.

There is thunderous applause, screaming and cheering that was a stop ovation for about one minute.

This show HAS just got to come to Melbourne!

The Principal teaches Dee Dee Ellen about “putting other’s first”. It is very funny but also biting. “Let’s learn how to be a good human being!”

Scene change as the Principal’s office reverses upstage and the “24Mart” flies in. There is a cyclone wire fence each side of the store to give context to the location.

Trent Oliver played superbly by Christopher Siebel reveals the inner prejudices of the twelve students. The “Love Thy Neighbour” number has lots of hand clapping and pays homage to “Sit Down You’re Rockin’ the Boat” from “Guys and Dolls”. It is the closest emotionally and theatrically I have seen to this iconic number.

Trent Oliver confronts each student with different examples about religion, sex, tattoos, masturbation etc. He is highlighting their hypocrisies. He is a natural teacher but does not realise it.

This is one of the best dance numbers in the show as it is so uplifting and positive. They repeat at a faster pace to build momentum, chanting and clapping to thunderous applause.

“Go Cats” flies back in. Two girls confront Emma for spoiling their prom. Emma compares and references “Carrie: The Musical” (which originally closed quickly on Broadway to become a cult show). She is relieved not to have pigs blood on her.

Alyssa sings her solo about her life and her mother’s expectations. It reveals more tension with Alyssa’s back story of guilt and being lesser in her mother’s eyes.

Emma announces that she is going public. And Alyssa realises that Emma is breaking up with her as the prom is bigger than just two girls. More building of tension. (Though, we know they will get back together.)

The scene changes back to the interior of the motel room with the actors. Dee Dee Ellen (Eleanor) has sold her soul to organise television coverage. The actors are learning about generosity and selflessness.

Emma enters and announces “I’m doing it my own way” which means not having television cameras. Now remember, Dee Dee Ellen sold her soul to get assistance and the television coverage. Her reaction to Emma’s announcement is priceless, as she is carried off the stage by the other actors. The audience is hysterical.

Tears well up in my eyes in response to Emma telling Barry “I want you to be my date”.   This show is so generous and uplifting for the human soul.

The audience oohs and aah’s as it is a very moving scene. It is an emotional scene.  We are let off the hook with a relieving joke to break the tension.

His theatrical song and dance reveals his inner self and being able to wear his silver tuxedo, and have the prom that he never had. His dance break pays homage to a male solo "The Right Girl" from “Follies”.  Barry does a bed roll similar to Angie’s earlier bedroll.

The scene changes to Emma’s bedroom where she is composing a song to put on the internet. (I am reliving the show as I type, and the emotions well up inside me again). She writes her song to tell her story. It is like me writing my diary and sharing it on Facebook, and revealing myself.

Silence. You could hear a pin drop. Dead silence. The audience is so respectful and attentive. We are spell bound.

Emma’s song is a love song and full of hope. Caitlin Kinnunen as Emmas is commanding and has incredibly clear diction. In fact the whole cast have great diction.

Dual scene as Emma sits on her bed, we see young people entering making comments about having seen her video on the internet. More youth enter saying they have seen her story. Is a bit like “Dear Evan Hansen” here.

The set design is simple as the bedroom revolves around to become the Principal’s office.

There is no money to stage another prom. The actors offer their credit cards. Dee Dee Ellen holds back and it adds to the tension, but builds in the humour. Dee Dee Ellen’s voice changes as she offers her Amex card. The drop in her tone receives another incredible round of applause and cheering.

Scene change as the Principals office trucks out, and the “Go Cats”flies in.

The lessons have been learnt by the actors - to be generous to others and selfless.

Scene change: doors fly in, and tabs rotate.

Half the side tabs gradually change to the the brown gymnasium, while the other half reveal outside and the woods. It is a dual scene: the gymnasium and the woods.

The PTA and students enter into the gymnasium wanting a confrontation. There is a great line about “There is nothing that flying monkeys can do”. This references “TheWizard of Oz”, “Wicked” and also has a dig at “King Kong”.

I think it was Trent Oliver that says “Ask them what they want.”

A student announces that the “Talk to the hands” (actor/Trent Oliver) has taught them about about tolerance. He requests “Be our drama teacher.” Trent Oliver is dumb struck and never considered teaching could be his real calling in life.

Alyssa’s mother arrives. Alyssa tells her mother “Stop talking mom. I love you Emma Nolan.”

Thunderous cheering and applause erupts from the audience.

Trent Oliver commands with his “Class settle down” in his newly found assertive, deep and sexy teacher tone.  The audience is hysterical.

I have tears streaming down my face when Alyssa and Emma sing :I just want to dance with you”.

The scene changes to the 24Mart.

Principal and Dee Dee sing also “I just want to dance with you.”

Scene change to build the new prom with silver balloons and tinsel doorway that reminded me of  “Chicago” or “Priscilla Queen of the Desert”.

The silver bunting rises to announce this prom is ready to begin.

The two girls enter to thunderous applause.

There is a quiet prom dance for the two girls that is poignant and heartfelt. The party dance begins and the the disco mirror balls lights up. Barry enters in his silver tuxedo to thunderous applause and cheers.

We finish with a kiss by the girls and a sensationally uplifting finale for curtain calls and dancing.

Oh yes - the audience jumped screaming from their seats.

It could have been a little shorter, but where would you cull it?

Melbourne you have to have this show. THIS VERSION of “TheProm” before the non-professionals do their less produced versions.

We both loved it and both gave it 8.5/10.

POST SHOW:

Afterwards we walked via Broadway to the 50th St Applebee's next to the 50th St station. We chatted quickly to the waitress who ushered us to our booth. She said “TheProm” cast have booked upstairs on Sunday after their final show.

Sadly we did not get served after ten. We had taken a photo of the menu with “TheProm” programme, as Applebee's is a location in “TheProm”. We left a $1.00 tip as we took a photo and left to catch our train outside the front door.