You're A Good Man Charlie Brown, Alex Theatre, Friday July 1st 2016

You're A Good Man Charlie Brown, Alex Theatre, Friday July 1st 2016

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.

We saw "You're A Good Man Charlie Brown" based on the comic strip "Peanuts" by Charles Schulz. The script is by Clark Gesner and played at the Alex Theatre in St Kilda. This is such a good show for adults and families. If you a Peanuts fan - then you will understand the subtleties of the jokes with the various 3,4 8 or 12 frames from the comic strips.. It was so clever with simple and effective staging. The characterisations were honest versions of the cartoon strip. The singing and choreography paid homage to so many old movies and Broadway shows. This is a very slick production that should tour and play more than the school holidays. This is one of Melbourne's theatrical highlights for 2016.

Programme production credits are hard to read due to the small font size used on page 7 of the programme.  It would have been good to include the song list for audience members to recall the songs and sequences.

Each production number paid homage to vaudeville, Busby Berkeley films, and to various films including "The Jazz Singer" film.  The more you have read the comic strip and seen old movies the more you will understand the in jokes in this clever production.

This production was snappy and slick and is a credit to the direction of Gary Abrahams.  The casting was perfectly appropriate for every role.  Gary Abrahams' direction and vision was obvious in the synergy of all parts coming together - costumes, sets, lighting, choreography, music and performances.

Charlie Brown was played with sincerity by the ever competent Cameron MacDonald.  The kite scene with Charlie Brown was poignant and well staged.  Cameron MacDonald is a consistently well rounded performer who transforms each role with gusto and commitment and it is always a joy to see him in a new role.  His career is certainly worth while following.

Snoopy was brought to life by the incomparable skill of Luigi Lucente.  He played so many levels of Snoopy with his playfulness and his interaction with the birds, clouds and other characters.  Luigi Lucente brilliantly transformed the Snoopy character into the philosopher that Charles Schulz created.  The scene with Snoopy as the Red Baron was fun and well timed.  Luigi Lucente is an actor to watch closely in the future.

Adam Porter had the requisite desperation and anxiety of Linus.  His needy behaviour with his comfort blanket was added to by his sweaty persona.

Courtney Glass was Lucy the bully with her turned out stance, over-confident posturing and the raucous voice. "The Doctor Is In" sequence showcased the comedic talent of Courtney Glass.

Sarah Morrison played Sally without over powering her character. The opening Act Two duet with Schroeder is the memorable "My New Philosophy".  Her duet with Joshua Robson as Schroeder was played with warmth and musicality.  Joshua Robson singing "Beethoven Day" was a song of yearning and hope.  He played the piano with the composure and maturity of Schroeder.

The whole cast worked as an ensemble and supported each other through out.  They sang beautifully under the musical direction of Ben Kiley.

Dana Jolly's choreography is cartoon-esque and honours Charles Schulz's comic strip.  The use of the stairs in her choreography paid homage to Busby Berkeley,  old-time movies and Broadway musicals.  Dana Jolly brings out the best in the performers and ensures the audience has as much fun with the signature moves for each character.  From the "Opening/You're A Good Man Charlie Brown" to the finale "Happiness" Dana Jolly has captured the spirit and essence of the philosophical life of Charlie Brown and Snoopy.

The costume design by Chloe Greeves was perfect for each character with the clean lines of the comic strip.  The chunky soled shoes were just so perfect and respected Charles Schulz's drawings.  I look forward to more of her designs in the future.

The set design by Jacob Battista was so much fun and captured the essence of the one, two, three or four panels of Charles Schulz' comic strip.   The use of the screens reminded me of the Sydney Theatre Company's production of "Two Weeks With the Queen" and directed by Wayne Harrison. The use of the stairs that rolled out to create Snoopy's kennel or Schroeder's piano were simple, clever and fun.  These moving set pieces reminded me of "Falsettos" directed again by Wayne Harrison for  Sydney Theatre Company.  Jacob Battista is a set designer to watch in the future.

I used to read the cartoons as a child in the 1960's and the 1970's.  I used to watch the animated tv shows, and this production really nailed it.  They sounded like the characters.  They moved like the characters.  Not once did I disbelieve they were not the real characters.

The finale filled my heart with love, hope and fun.  I longed for the simpler times that Charles Schulz captured in his comic strips.

"You're A Good Man Charlie Brown"  received 8/10 and could easily be seen again!

Georgy Girl - the Seekers Musical, Her Majesty's Theatre, Saturday January 2nd 2016

Georgy Girl - the Seekers Musical, Her Majesty's Theatre, Saturday January 2nd 2016

We saw "Georgy Girl - the Seekers Musical" at Her Majesty's Theatre on Saturday January 2nd 2016 and it is such a good show.  I have never seen so many people emotionally affected by a musical for years. This cast had the audience in the "palm of their hands" especially with the Sidney Myer Music Bowl sequence. People were swaying and humming along with the songs. It is a terrific juke box musical.  The four leads took me back to the mid 1960s as they look and sound terrific.   Congratulations as this took the audience on the known story of  The Seekers with a roller coaster of emotions.

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.

Congratulations to the generation of civilised audience members who had the decency to turn off their mobile phones and not destroy the show.  The quality of the pre show announcements is much better than the Arts Centre Melbourne.

Oh yes and the show started promptly at 8.00 pm which is unheard of at some other theatres.  The staff at Her Majesty's are excellent, though an additional bar attendant in the Dress Circle bar was required at 7.30 pm as the queue for drinks grew.

After entering the theatre the set with the piano sitting centre stage reminded me of the opening set from "Beautiful"  (the Carol King musical).

The emotional connection to the story was very strong with audience members weeping or sobbing or gasping.  And these reactions were to a well known and published sequence of events!   "Georgy Girl - the Seekers Musical" captured the 1960s era with stylised aplomb as I was transported back to the mid sixties which I fondly and vividly remember.

The singing by the entire cast is terrific.  More so, the sound by the four leads was scary as they sounded so much like The Seekers.

The book by Patrick Edgeworth is pretty tight.  Patrick Edgeworth has not only told the story of The Seekers but more importantly captured the soul and emotion of their relationship to the world. Here Patrick Edgeworth uses less words to create some very funny lines, especially the jokes about Paul Simon.

The direction by Gary Young captures the essence of the 1960s and The Seekers' internal struggles with sincerity and heart.  The greatest compliment is the emotional connection relayed from the book via the direction of the fine actors.

The staging and direction is slick.  There are two minor holes in Act One with transitions between scenes that could be tightened up with lighting, music or staging. Act Two has four minor holes that were laboured and need tightening.  They require the same treatment to make the transitions slicker and more polished.  I am not complaining as this show is less than two weeks old and is in far better shape than many which have been running for years.

Set Design by Shaun Gurton reminded me of "Memphis" and "Beautiful" and "Motown" and co-incidentally they all had recording sessions scenes.   The use of the television cameras has been used in so many of the above mentioned musicals. "Hairspray" and "Dusty - The Original Pop Diva" also had television scenes where the actors would play to the cameras.  In "Georgy Girl - the Seekers Musical" the cameras captured the spirit of the wholesomeness of "The Seekers" with their minimalist movements. Shaun Gurton has created a functional set with sliding screen doors and regular doors.  The split level set and the multiple entrances provide opportunities to direct the audience's focus.

The choreography by Michael Ralph had good staging and groupings, though the actual choreography was not authentic 1960s enough for me.  I preferred Ross Coleman's choreography in  "Dusty - The Original Pop Diva" which used so many historically accurate moves.  "Georgy Girl - the Seekers Musical" needed more than flashes of the 1960s moves as many audience members were of that generation.

A fun highlight was The Seeker's arrival in London with the parade of business men sporting bowler hats and the policeman (bobby) contrasted the emerging groovy moves.  With more research and some minor alterations Michael Ralph could improve his choreography and take it to a new level.   I look forward to seeing Michael Ralph's career progression.

The Oscars sequence for a song nomination "Georgy Girl" was well done though not a reproduction of the original choreography.  Mitzi Gaynor and the backing dancers had the requisite over-the-top smiles and cheesy grins.

The Act Two opening paid homage to Tom Jones and the use of "Momma's Got the Blues" moved the story along without me spoiling how this was done.

The scene between the two sisters, Beverly and Judith was one of my highlights due to their sisterly love and connection.  Beverly was played by Sophie Carter and sang magnificently.  Yes it was me who hooted you on your curtain calls as you, yes you Sophie Carter were sensational capturing sisterly support and maternal instincts with a hint of spoon playing hill-billy.  Sophie Carter played this with sincerity and honesty.

Act Two felt a bit clunky at times.  Though the narrator Ron Edgeworth played by Adam Murphy did explain that they could not tell everything about The Seekers' story.

The reunion scene between Judith Durham and the men was touching and well written.  More so it was directed and played with sincerity and the pause was palpable.  The audience were on the edge of their seats awaiting one response.  I hope they keep this moment fresh and honest as it was magical.
You could hear people's breathing stop and the heart beats in the audience.  As I type this, my eyes well with tears recalling this moment.  Great theatre to move us so honestly.

The wedding scene is simple.  Listen carefully to hear the underscoring of a Seeker's song mixed in with the orchestration.  Well done to the Musical Supervision, Arrangements and Orchestrations by Stephen Amos as the music is beautifully played without the deafening volumes of some musicals.  Stephen Amos has created the sound of The Seekers with the terrific band.

Lighting Design by Trudy Dalgleish created transitions between time and space.  Using her expertise there are opportunities to tighten and polish four transitions in Act Two.  I especially liked Trudy Dalgleish's use of the expanding lit area to create a sense of perspective and location.  The venetian-blind lighting effect reminded me of "Ghost -the musical" (and that the lighting was the best part of that show!)

With the semi-transparent set we could see the hospital bed being wheeled into place well before the entrance of bed ridden Judith.  A lighting change or a timing change could reduce this distraction and provide the requisite surprise element.

Projections provided a backdrop in the upper half of the stage.  There are wallpapers for living rooms, posters for a theatrical manager's office, Union Jack for UK, Big Ben for London, Vietnam jungle, psychedelic patterns etc.  Each projection provided a sense of time, space and occasion.  The most significant projection was the Sidney Myer Music Bowl and this created a new level of silence from the audience.  I was curious if any of the  audience members may have been at that famous concert.  Nearly fifty years on and I too could have been a child at that concert.  It was like yesterday and I had heart thumping memories.

My favourite moments included the "Myra" song as it flooded back so many memories of the 1960s. The truth versus fantasy sequences of "Morningtown Ride" captured the essence of this beautiful song and used as a lullaby.  The audience were swaying and singing quietly along.  Normally this would be annoying but it is a real sing-a-long type show.  Then, the audience were jolted to reality with the twists of the scene, and relished being taken on this subliminal train ride.

One of the most gut wrenching moments will mean naught to others.  I share it as it was so poignant and I hope that they do not cut this scene.  An Australian soldier is in Vietnam and writes a fan letter to Judith Durham.  As the Vietnam War was the first war to be screened live into living rooms each night on the news (rather than the newsreels of WW11) as a child these memories are strong.  I was in Grade Four and had written to a soldier in Vietnam who subsequently was killed.  How is this relevant?  I sat there thinking "I wonder if Judith Durham  ever received that specific letter?"  I am sure she received many letters from Vietnam and this scene was representative of an era.  But if this scene touched me so deeply, I am sure it will touch others for their personal reasons.

The finale with the magnificent anthem "I Am Australian" shows how stirring this song is to lift the spirits and be proud to be Australian.  Juxtaposed was the tragedy that Judith Durham's private suffering.  It was like being knifed in the back twice with contrasting emotions - gut wrenching and uplifting.  It was like the release of Ron Edgeworth to the heavens.  We, as an audience could also let go emotionally.

The whole cast are terrific and play as a true ensemble cast.  There is not a weak link in this cast.
I enjoyed Ian Stenlake as John Ashby with his smooth manners and his rich voice.  Stephen Wheat plays the manager with his reliable credibility.  Cameron MacDonald as Graham Kennedy has next to no time to create a short cameo role and does so with his reliable characterisation.

The four leads playing The Seekers  are superb.  As I closed my eyes occasionally these four performers transported me back 50 years and to simpler times.  Pippa Grandison  paid homage honoured our memory of Judith Durham.  She did not mimic Judith Durham  but allowed her character to live within and channel her.  Glaston Toft as Athol Guy, Mike McLeish as Bruce Woodley and Phillip Lowe as Keith Potger also honoured the real male characters and allowed their spirit to overcome their characterisations.  I cannot praise these four enough for their honest and sincere performance and hope that they continue to trust their instincts.

I cannot extol my praises enough as they sounded so much like The Seekers  and,  more so, they channelled their characters.

The merchandise stalls display their wares with flare and the prices are reasonable except for the t- shirts which I felt were a tad expensive at $40.00.

I listened to the CD twice on Sunday January 3rd 2016 to relive the memories.  It is not the Original Cast Album with lyrics and notes but a recording of songs by some of the cast before the premiere of the show.  It is a fine recording and I hope they do a full Original Cast Album in the future.

I could see this show again and not feel as if my memories would be tainted.  Where as other shows I do not want to see them again as I have been disappointed.

Overall my partner scored this a 7/10 and I gave it a 7.5/10.

Sexercise - The musical , Alex Theatre, Thursday March 12th 2015

Sexercise - The musical, Alex Theatre, Thursday March 12th 2015

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.

The newly refurbished George Cinemas in Fitzroy St, St Kilda have been redeveloped into Melbourne's newest theatres by Aleksander Vass.  He with Malcom C. Cooke present the first show "Sexercise - The musical" with great foresight for Melbourne's flourishing independent theatre scene.

Booking tickets was a bit of a hiccup as I tried to buy tickets on the first day of release.  So I rang the Alex Theatre and provided feedback about the Ticketek website.  The Alex Theatre staff were so pleasant and grateful that I took the time to bring this to their attention.  The ticket prices are reasonable for the equivalent of a good quality Off-Broadway show.

Arriving at the Alex Theatre gave a sense of occasion with a security officer on the door which is similar to the large Broadway theatres.  The staircase and posters on the wall certainly gave a very positive and professional vibe to our arrival. 

The upstairs foyer of the Alex Theatre is a great homage to the magnificent theatres around the world with its enormous panoramic glass wall with Melbourne's Princess Theatre taking centre stage. From the programme Digikote -The Glass Printing Specialist advertise and I assume they made this magnificent panorama.   Below the Princess Theatre is the original cast of "Sexercise - The musical."  It is terrific fun to identify the various theatres and shows from around the world on this beautiful panorama.  Sadly a small table blocks the view of the centre of the panorama.  So make sure you look down to see the terrific cast of "Sexercise - The musical"taking this downstage position.

The Alex Theatre bar staff and ushers were very helpful and hospitable.  Drinks were reasonably priced as were the souvenirs.

Inside the theatre looks magnificent with the plush seating and the medium sized stage.  The theatre's interior and foyer looks better than many Off Broadway or Off Off Broadway Theatres. 

They had the usual pre-show announcement but with a sound issue.  I really appreciated that not one mobile phone or iPAD or Tablet went flashing, buzzing or vibrating to distract our attention during the show.  I hope they make it a policy that people will be thrown out for doing so.  I pay good money to see shows and not be distracted by their "Twanking!"

As we sat waiting for the show to begin, the stage looked slick and inviting.  I do not think they have the capacity to have a fly tower like Second Stage's Theatre on 43rd St in New York.  The slide panels looked more professional than many other small scale shows both here and overseas.

"Sexercise - The musical" started promptly on time.  Patrons could take in their drinks as long as they were in plastic containers.

Book, music and lyrics by Derek Rowe are fun.  The book is quite tight though it needs another ensemble number in Act One to keep it moving and create links to the characters.  There are a few jarring moments in the story that require a segue to smooth out the jolts.  Yes, some of the lyrics are corny but so is the ridiculous fun nature of the show.

Story wise - the conflict between Sam and Joe are revealed in the first song.  It takes the whole of Act One to provide the back story of each character, which leads us to the set up of the obvious solution for Sam and Joe to try the "Sexercise" book and strategy.

The set design by Adrienne Chisholm was fresh and calming with the blue panels that slid to reveal an electronic screen for the visual sets.  It reminded me of David Atkins' version of "Hairspray" with the large television screens creating the set.  The pull-out bed and sofa are simple and a great use of space.  The scene with the bed upright reminds me of Graeme Murphy's "Poppy" choreographed for Sydney Dance Company in 1978.

The costumes by Adrienne Chisholm provide an instant identifiable visual image for each character.  I particularly loved the geometric dress for Sam as it was perfect for her character and also was a colour variation of the set design.  The Boy-Band costumes were so much fun and paid homage to many famous and infamous singers.  The bling for Andy's character was so appropriate for his over-the-top personality.

Choreography by Dana Jolly is adequate and slick.  I thought the finale could have been a bit more adventurous with more 'sexual position" jokes as was achieved in Sam and Joe's duet, "Work Out With Each Other" that opened Act Two.  Maybe they could incorporate the "Helicopter Move" for Sam and Joe to create more confronting hilarity!  This could also be a visual joke linking to the famous presage lift from "Dirty Dancing" , as they had the predictable flag waving move that is an in-joke from "Les Miserables."  If you do not know the "Helicopter Move" then you may wish to investigate in the privacy of your own home!

Staging and direction by Sara Grenfell is clever to create defined spaces and locations.  Sara has directed this fine ensemble of actors to create characters with clarity.  These characters have contrasting and recognisable personalities.  Sara has also ensured that the actors create relationships with each other and that they listen to each other in a way that some actors in some musicals do not. 

Continuity wise, when Shane goes to visit Rhonda,  the pull-out sofa did not define the waiting room area as in earlier scenes.  A few of the scenes were played in front of the stage with Tania and it worried me that those in the back rows may not be able to see.   We were in J row (by our choice) and could see easily.  Some of the entrances down the aisle are well timed and lots of fun, especially when Tania is going to her yoga class.

Lighting design by Jason Bovaird created supportive locations to the set design and to Sara's direction.  I really enjoyed looking up on to the theatre's ceiling and wonder if many people realised that the overhead lighting design illuminated creative patterns that supported different scenes.

Sound design by Your Show Pty Ltd may have been a little loud at times.  Not excessively loud but two of the radio mikes dropped out during some of the dialogue.  I think this was at the conclusion of a very physical number and the connection may have been slightly moved.  

I collect the different advertisements and articles for each show and file them with each program and have done so since 1966.  I am at odds why this show was not advertised more in the Herald Sun as they had a few full page advertisements in The Age and there is a higher readership in the Herald Sun.  I do not think there was enough general coverage for such a fine production.  Thankfully there were two really good articles in the Herald Sun on December 31st 2014 and March 3rd 2015.  I think this show could have tapped into the Group Booking crowds for Hen's nights and for similar audiences that saw "Motherhood - the musical" and "Menopause - the musical."

The thing that I really liked about this show was it was not just for females like some of the afore-mentioned musicals that poke fun at men. This show is great entertainment for both sexes.

Sam was played by Nicole Melloy.  She has a beautiful singing voice and created a credible character with her fastidious nature.  She worked their awkward relationship with her partner Joe played by Lyall Brooks.  He too created a credible character though in Act One he seemed either off pitch at times or discordant with the music.  By Act Two Lyall's his singing had changed for the better.

"Work Out With Each Other" by Sam and Joe opens Act Two in a climatic way!  These fine actors, Nicole Melloy and Lyall Brooks had the audience immediately in the palm of their hands.  We were impressed with their physical prowess and their ability to maintain a straight face during this fun number.  This song told a clear story with terrific lyrics and a great tune.

Rhonda, the therapist/counsellor played with such cheekiness by Fem Belling. .  Her character like Tania and Andy are more cartoon-esque and over-the-top personalities. Fem Belling's  Rhonda had the three sides to her personality which was so much fun to watch: her professional counsellor side, restrained researching side and her sexually wild side.

Tania played by Lulu McClatchy was channelling a lesbian version of Tracy Turnblad from "Hairspray" and Rebel Wilson.  Her entrance down the centre aisle was magic as she interacted with the audience.  Later her interactions with an audience member acting as her ex-girlfriend was even funnier.  Lulu McClatchy is a fine comedienne with exquisite timing and a choreographer's dream for any comedy moves.  During the yoga scene with Sam, Tania was "exerting" energy to create recognisable lazy versions of yoga moves.  Her "retires" were timely where she would lift her foot to quickly replace it or otherwise lose her balance was magnificent and under-stated.

Andy played by Cameron MacDonald was a sheer delight.  Cameron MacDonald played Andy with a sincere naivety and unaware campiness.  His mates accepted Andy for being himself and having a more feminine side to their masculinity.  Andy felt included and would sometimes cross the line totally oblivious to his own behaviour.  The bling in the Boy-Band sequence, "36 not 23" was a great addition to his costume.  Cameron MacDonald has not failed to impress me in the past twelve months for consistently keeping in his very well defined characters.  He is a musical theatre force to be reckoned with.

Kristin Holland played Shane with exuberance and sexiness. He could have made Shane more arrogant and lost our appeal but Kristin Holland plays Shane with the right amount of confidence.  His body type naturally fits this role and his skill as an actor and singer matches beautifully.  I loved the joke during the "sharing and honesty" revelation by Rhonda toward the end of the show.

They should have included an advertisement for the book "Sexercise" by Aleksander Vass, Jane Thornton and Kim Carter, as some people may have felt embarrassed to buy a copy at the theatre and preferred to be able to buy one via the post or online.  I could not find this version online to include as a link.  So if you want to buy a copy make sure you buy one which is on sale at the Alex Theatre.  Note there are other similar titled books online but are by different authors.

Overall, "Sexercise - The musical" was a fun show and great night of entertainment.  I look forward to more original works at the Alex Theatre and congratulate them on providing a superb venue for new works.

I gave "Sexercise - The musical"  a 7/10.

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.