21 Chump St & Ordinary Days, Pursued by Bears, Chapel Off Chapel, Saturday June 17th 2017

21 Chump St & Ordinary Days, Pursued by Bears, Chapel Off Chapel, Saturday June 17th 2017

"21 Chump St" & "Ordinary Days" was presented by Pursued by Bears at Chapel Off Chapel, on Saturday June 17th 2017.

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.

No attendant was selling programmes at the door to the theatre.  A jar sat next to the display of programmes and this is not responsible from a business and security perspective, and a poor show in welcoming patrons and customer service.

The programme lacked the song list.  Musical theatre fans relish being able to recall a specific song with a singer or a scene, rather than having to wade through the internet or a record collection to locate the name of a song.  The $5.00 price tag is affordable and of a much better quality than some other production companies.  However, where are Pursued by Bears's contact details in the programme?

An attendant should been monitoring patrons as they entered the theatre.  The curtain should have been pulled back for a safer entry for patrons.

No pre show announcement was made.  Pursued By Bears could invent creative ways to remind audience members to turn off their phones and no texting, photographs and recording etc.  This was another missed opportunity to prepare audience members for a special event rather than patrons idling sitting and waiting for the show to begin, and creating unnecessary distractions.

"21 Chump St" by Lin-Manuel Miranda tells a story from an episode of "This American Life" succinctly in fourteen minutes.

Byron Bache directed, with Clary Riven assisting, the three main characters with clear goals and intentions,  Both the direction and setting provided clear distinctions between most locations with the use of chairs, a television monitor and three cameras.   The sight lines were good from up the back as they did not play too close to the front row.  This is sadly a rarity in this theatre where too many productions get lost for playing too close to the front row of The Loft at Chapel Off Chapel.

Byron Bache's direction, was supported by the clean and simple Production Design by the capable and creative Sarah Tulloch.  Her designs reminds me of John Truscott's ability to create magic on a tight budget,  I am impressed with this young designer and enjoy her work.  It will be interesting to see how she develops with larger budgets.

The Lighting Design by Jason Crick was slicker than other productions, without some of the technical difficulties that I have seen in the The Loft.    Jason Crick's lighting designs provided a seamless distinction between locations.  The scenes behind the gauze curtain gave both a voyeuristic quality of intrusion to the journalist's interview, and the graininess of a television screen.

Lauren Edwards as the Narrator drew us into this short musical from her opening delivery to camera.

Olivia Charalambous was believable as Naomi, the undercover cop, who sang as reliably and beautifully as in other shows which she has performed.  She has an ability to engage with other performers to command our attention.  Olivia Charalambous created a clean switch between her school girl personae and the matter-of-fact and "part of my job" as cop when interviewed.

Jake Fehily as Justin Leboy was the gob-smacked youth who created an honest realism to his infatuation with Naomi.  His final singing was a bit off, but more importantly he transported me to his location with his emotional connection to a truth and an understanding of the consequences of his actions.

The scene with the cousins/druggies wearing beanies transitioned into the the school room scene. The police-woman played by Nicola Bowman should have had a simple hat or sunglasses to differentiate her character at this point.  Her physical actions as the cop did not define an authoritarian figure from her student characterisation. This scene was messy and lacked focus, and did not transform into the classroom scene effectively.

The cast sang well, though some diction was a bit dodgy at times.  The cast was backed up by an ensemble of Nicola Bowman, Kai Mann-Robertson and Stephanie Wood.

Musical direction by Caleb Garfinkel provided terrific support for the cast and filled The Loft with a wonderfully rich sound from a small band.

While watching "21 Chump St", with the use of the cameras and television screen, I realised that this capable company should consider doing "Nobody Loves You".  They could rework the ending to allow the for audience participation in the vote, which was sadly lacking in Second Stage's production in July 2013.  (Of course the outcome of "Nobody Loves You" is known - but with the audience participation it would be more engaging, and, could come across as either a true outcome or a rigged outcome.  This competent company could rework this work to cater for the "Big Brother" and reality show audiences.)

The story is succinct and compelling, though a little didactic.

My partner and I both gave Pursued by Bears' production of "21 Chump St"  a 6.5/10.

"Ordinary Days" was presented by Pursued by Bears  at Chapel Off Chapel, on Saturday June 17th 2017.

No pre show announcement was made.

Tyran Parke directed this fabulous cast of "Ordinary Days".   The four terrific performers were well cast for "Ordinary Days"  as each played definite choices that worked to create known New York archetypes. They transported me to New York locations that I know well.

With Music and Lyric by Adam Gwon, the score can be a bit monotonous until the final two songs providing a rich and uplifting ending.

The Production Intern, Kyra Von Steigler used sheer curtains to create a depth to the staging.  Four simple black set pieces made a New York skyline that turned into various other set pieces: including chairs or  a bed.  The Freedom Tower set piece was reconfigured with a simple door to become a closet and a telephone booth, while below was a storage cupboard.  This was simple and effective design.

Sadly, the sight lines were not good as they played many scenes too close to the front row.  It was very much like attending the NGV and trying to avoid the selfies and the heads of viewers.  I wonder how many directors consider the view from the seats further back with a full audience.  I have stated this in other reviews and it staggers me that playing so far down-stage in this small theatre continues.

Lighting Design by Jason Crick created various moods of New York:  with the opening back-lit skyline to an impressionist palette that supported the four characters visiting the  Metropolitan Museum of Art.  The simple lighting design also allowed for the height of an apartment building that reminded me of a simpler version of one lighting plot from "Spiderman - the Musical" (from the 17th August 2011 version!!).  The strewn pamphlets towards the end fluttering down also created a sense of height.

"Ordinary Days" reminded me in part of "On The Town" with the visit to the Metropolitan Museum of Art:  when Deb played by Nicola Bowman was determined to meet Warren and retrieve her notebook.  Deb doing her circuit of the Met trying to find her meeting point with Warren, reminded me of, and paid homage to, Erronius doing the circuit three times from "A Funny Thing That Happened On The Way To The Forum".  Deb's frustration and anxiety rose to humorous recognition for those what have been lost in the Metropolitan Museum of Art.

Joel Granger is a reliable and charismatic performer in the role of quirky Warren from his opening soliciting pamphlets scene.  He sang beautifully but was a bit flat in one of the later songs.  Joel Granger reminds me of the lead character from "Bradley Cole" that played the 2013 New York Fringe.  Joel Granger would make a wonderful Evan Hansen from "Dear Evan Hansen".  I hope this fine young performer is given the opportunity to show his capability.

Nicola Bowman was sensational as Deb with her desperation to recover her notes.  She mainly sang well and sadly was flat in a later number.  Yes, I was disappointed by this, but I was more impressed with her strong choices for her character.  Playing opposite Joel Granger they created some terrific moments of awkwardness and tension.  Warren overstepped Deb's physical boundaries innocently adding to the humour.

Joel Granger as Warren helped open up Deb's eyes to the world and to herself.  We saw a lovely realisation and transformation in Deb as Warren gradually showed her how to see possibilities.

Mathew Hamilton played Jason and sang beautifully.  He has a gentle command with his stillness that demanded we listen to his story.

Brittanie Shipway as Claire has a sensational voice with a rich tone.  Claire invited us to witness her inner thoughts and emotions and realisations: ranging from detached to trapped.  Clarie's warmth to Jason grew to coldness that created tension from early on.  Jason was intruding upon her space and memories. Remember this young lady's name - Brittanie Shipway - for her final solo was sensational.  Repeat - sensational as it was full of drama, despair, realisation and hope.

The small band played well under the musical direction of Stephanie Lewendon-Loew, though the piano dominated and disturbed the balance.

I would have been content had the show finished with the final throwing away of the pamphlets from up high.  The final scene  seemed like a coda to provide a neat and tidy conclusion.  Both my partner and I were more satisfied with the possibility rather than the proposal and the revelation of the Jason and Claire finding a pamphlet.

The exit by the audience was a lovely touch as audience members were able to select one of the strewn coloured pamphlets from the stage.  This simple souvenir is your personal reminder of the show and was a great idea,

During the show, two audience members had to attend to their phones and made hasty exits from the theatre and walked straight across the stage.  It was so New York as they drove their way through the stage to reach the exit!  One of the cast members had to restrain their shock.  If there is an emergency - do not attend!  I say this one young lady was on her phone before the show and right up until the show began.  It was very distracting and sometimes a emergency means giving up going to the theatre.

I love Pursued by Bears for their dedication to musical theatre and providing young performers with opportunities, and fans with rarely performed works.

I would love to see this fine company tackle the off-Broadway production of "Death Takes A Holiday" from the Roundabout Theatre.

If you missed out on these two fine productions - tough titties.  You will not want to miss their next show.  They are such a great company.

The Alex Theatre in St Kilda should be enticing this company to their venue as they have much better sight lines.

My partner gave Pursued by Bears  production of "Ordinary Days" an 8/10 while I gave it a 7.5/10.

The Gathering, Vic Theatre, 45 Downstairs, Thursday December 8th 2016

The Gathering, Vic Theatre, 45 Downstairs, Thursday December 8th 2016

"The Gathering" was presented by Vic Theatre in Association with Kin Collaborative Inc at  45 Downstairs on Thursday December 8th 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.

Buying tickets for the "The Gathering"  was easy though I nearly missed it and only realised due to the Herald Sun article on Tuesday November 22nd 2016 that it was a new musical.  I love to support new Australian works as does my partner.

The tickets are reasonably priced and thankfully offer discounts for M.E.A.A. members as many venues do not offer such a discount.  My partner is a senior and could not obtain a discount as he is not a pensioner.  We are not complaining as we like to support young talent of such a good standard.

The boss office guy is always such a hoot and has so much personality and really brings a welcoming vibe to the 45 Downstairs venue.

Waiting in the queue I observed the poster and the flyer for the show.  A striking image that makes sense after seeing the show.  The poster reminded me of the "iceberg theory" image and the underlying tensions or background stories of the characters.  The dates are shown on the reverse of the flyer but not the year.  Historically I want a record to recall this show was in 2016 and they need to be on the posters and flyers.

"The Gathering" was suitably staged on this steamy summer night as we learnt that this was the time and setting for the show.  We arrived just before 7.30 pm as the traffic was so bad.

Signs with large print were displayed on the walls asking patrons to turn off their mobile phones.  A great touch though sadly some audience members had to be "Twanking" right until the show began. The older gentlemen on stage right was the worst and continued to do so during the opening song. How rude of him as it is so distracting.

Sadly programmes had sold out.  MMMMM "Not happy Jan" as I like to read about the show and get some background of the performers before I watch a show.  I enjoy recognising different performers or creative talent to be able to compare and watch their growth in the industry.  I like to keep all of my programmes in chronological order with any newspaper articles and brochures as a holistic collection for theatre history.

After the show, I was pleased that the box office guy introduced me to two of the producers and one offered to email me a programme.  "The smallest action is better than the biggest intention".  I was most impressed as he saved me having to ask if he could do so.  That is what I mean - so many people put young people down -but these young adults have such insight into how to progress their careers. They really appreciate that the next conversation could open up doors for them.  That is what I really admired about Joel Granger when we bumped into him at "Reefer Madness" he introduced himself after we congratulated him on his work in "Titanic".   We were so pleased to learn that he was to be in "The Gathering".

Sadly I have not received a copy of the programme and do not know if the song list was included.


Costumes by someone unknown were appropriate to differentiate each character.  The costumes in the chest were also important to support the story.


Note:  I never did receive a copy of the programme.


The following was copied from the 45 Downstairs website:

We took our seats and found some in the second back row of the central section.

Upon entry to the theatre I was hit with an immediate atmosphere created by the set and Joel Granger as Tom who was vacuuming the mixed carpet off cuts and dusting the table.  It reminded me of "Rent".

The stage reminded me of The Why Not Theatre in Carlton from 1975-1976 with the array of carpet off cuts.  It was a terrific segue in to the show to create the realism of his living conditions.  We, as the audience were like flies on the wall.  I did not want to walk on his carpet to get to our seats as I felt like I was invading his space.

I used the cast list from the 45 Downstairs website and the Vic Theatre website as my references when trying to complete my notes.  I have copied the cast list from the 45 Downstairs website at the end of my notes.

Set design by  (insert name here)  involved a round table, chairs and an esky centre stage.  On stage right was a large recliner type chair and a tall lamp stand.  Upstage were boxes and various items. The set design was appropriate for the venue and for genre of the show as it immediately set the tone for a new arrival to a grungy apartment.

Props by (insert name here) were mainly bottles, paper cups, boxes and cases.  Mobile phones were used as torches reminiscent of "Hernandos's Hide-a-way" from "The Pajama Game". The props were used realistically within the constraints of the set and the story.

Direction by (insert name here)  was adequate though the depth of characterisation and interactions between the characters was limited by the script.  

The staging for the different locations was terrific and created simply by moving some furniture and enhanced by the lighting design.    As I write this I do not have the programme and assume someone was responsible for the choreography or movement direction.  The choreography or movement was appropriate for the show without being too razzle-dazzle.  Sadly I cannot name them to congratulate them on their staging.

Lighting design by (insert name here) created a sense of location and I appreciate the limitations of the venue.  The lighting was quite effective except for the final bonfire sequence which was a let down because it was meant to support the story.

The book needs work but is very promising. I have seen worse scripts presented in development at the New York Fringe and on Off Broadway.

Performances were quite good while some stood out.  The gay guy in black and the hippy girlfriend both had a solid characters throughout.  

Joel Granger's Tom was suppressed and I longed for some backstory interaction with his foster sister or friends to create more of a build-up.   At the two performances of "Titanic" we attended  his singing was sensational, while he hit a few bung notes in "The Gathering" he kept his emotional connection to his character.  He did not flinch and this created a reality to his character. I enjoyed his contrast in his restraint to his impulsive displays of fight and flight (save the staging of the fights).  He made the most of what he had to work with, though I yearned for more from the script and score to showcase what this fine performer is capable of.  He is capable of taking it to another level.

Tom's male friend Joe was played by Daniel Cosgrove and had a more Ocker strine to his voice and was not as secure in his singing.  His connection with girl friend Daisy played by Hannah Sullivan McInerny was quite strong in creating a bond that would eventually break.  Their interactions and reveals in the "Secret" sequence were the most realistic and created the much needed tension.

The fight scenes were very twee and needed more tension in the movement direction to show us the relationship history of the characters.  The pushing and shoving was childish, and any arguments were forgotten within ten seconds of occurring.  These spats needed more festering in both the script and the direction.  I know these writers could give more.

Hannah Sullivan McInerny as Daisy the hippy girlfriend. Hannah Sullivan McInerny was suited to the part visually and vocally. Her costume was appropriate and simple.  Ironically her alternative character seemed the most grounded in the production.  Her performance really stood out for me and it is such a pleasure to see how performers grow with each new challenge.

I have seen Olivia Charalambous previously in "Dogfight" and here she played Mia.  I know how meaty her performance can be with her depth of understanding.  Her singing in "The Gathering" was pleasant though her character at times jumped without any transition to her next action.   I think her performance was partially due to the jerkiness of the script at times.  Her scene when finding Tom revealed what she is capable of as an actress who can be honest and truthful.

Tom's foster sister Kelly was played by Shannen Alyce Quan was a strong, confident and assertive young lady.  She sang well and her character seemed to lose some of the self assurance as the script progressed.  I yearned for a duet or a montage with her and Tom as youngster's growing up.  It would have been interesting to see the character's playing dress ups or "Secret" as kids to counter point the adult action.

The first entrance of the gay guy Luke was played by Daniel Assetta.  His arrival was unwelcome by Tom and needed more dramatic electricity and stand off.  Daniel Assetta kept this character flamboyant and consistent throughout.  He made the most of the script and I longed for more tension between him and Tom.  Maybe some backstory or time shifting interaction between Tom and Luke could have suspended the tension.

When Tom asked people to leave it was unrealistic from a script perspective.  It seemed corny and was too blunt in the writing. There was a lack of keeping people apart and any tension built up was immediately dissipated and as such made the scene fizzle.  With development the tensions could be built.

The opening of the "Secrets" sequence lacked any build up and so I found it cringe worthy in the writing when the first two characters revealed their secrets.  There needed to be more hesitation, pause, courage, confidence building, trust and anticipation in this sequence.  This could have been achieved with a slower build up and musically could have been very interesting.   Nothing was at stake between the characters and no tension to keep us on edge. The actual secrets revealed by each character were appropriate - it was the linking together that seemed episodic and too much like a soap opera's tight 30 minutes structure.  It was as if I was watching someone scrolling through their Facebook page and dismissing the next comment by a character.  

The best aspect of the "Secrets" sequence was the reveal between the guy and the hippy girlfriend.

Music and lyrics by Belinda Jenkin and Will Hannagan and were not as bad as one reviewer stated. This is a young person's story and as such spoke in a language attuned to their ears.    Both Belinda Jenkin and Will Hannagan have an ear for the younger person's voice.

Diction could have been improved as some important lyrics were completely swallowed and we lost the logic or reason for an action.  My partner and myself could not work out a few of the lyrics due to the diction.  I wanted to understood some of the lyrics at times. 

At times "The Gathering" reminded me of "The Woman In Black" as horror play or film.  The sound effects used were haunting and adequate.  With more resources these could be made more disturbing. The interactions between the characters dismissed the sounds while this could have created more tension.  I longed to see the characters playing as children to counter-point their adult interactions.

I look forward to more work by Belinda Jenkin and Will Hannagan.  I do not know whether it is worth tinkering with "The Gathering" and sometimes you have to move on and let go of a particular work. If this work is any indication of what they are capable of - then I know they will deliver even more sophisticated works.  

The duet between the foster sister Shannen Alyce Quan (Kelly) and Luke was too long and was hard to understand the lyrics at times.  Maybe it felt too long due to the lack of diction.

The music was pleasant and it did not remind me of other show tunes rehashed.  This is important as usually I start recognising themes or songs from other shows.  The originality is a compliment. Though the music was not memorable and needed a stronger thematic thread, it is just off the edge of recognition and recall.

The staging of the finale reminded me of "Assassins" by MTC that was performed at the George Fairfax Studio.

The harmonies were good and I wanted to hear more of this ensemble's capabilities.

Oh yes remember our resident "Twanker"?  The older gentlemen sitting on stage right was the worst and actually had the audacity to check his phone about four times during the show.  He is lucky he was not closer to me.  I was not going to disturb these young people's efforts.  Then the old guy has to wipe tears at the end.  Really?  Did you actually watch these fine performers?  It was so distracting mate as I pay money to watch a show and not get the peripheral flash of your phone.  Maybe you were a part of the lighting design!

Thankfully the younger generation had the decency to turn off their phones.

"The Gathering" was presented with enthusiasm and was a terrific showcase of a work in progress.

The website for Vic Theatre is terrific in providing me with some information and I hope they maintain their knowledge base via their archives.  Sadly when I take the time to create these links many organisations delete the information down the track.  I hope that Vic Theatre maintains their archives as they are a company to watch for the future.

Overall I gave "The Gathering" a 6.5/10.  My partner gave it the same score.

Five years in the making, The Gathering is a new musical by Will Hannagan and Belinda Jenkin. Fresh from a development season at the New York Music Theatre Festival, it returns to Melbourne for an all too short season at fortyfivedownstairs.
The Gathering is presented with the support of City of Melbourne.
Cast
Joel Granger (Tom)

Olivia Charalambous (Mia)

Daniel Assetta (Luke)

Shannen Alyce Quan (Kelly)

Daniel Cosgrove (Joe)

Hannah Sullivan McInerny (Daisy)

 Co-Composers and Creators

Belinda Jenkin is a singer, actor and writer. She is a 2015 graduate of NIDA (Diploma of Musical THeatre). Before NIDA she also studied a Diploma of Arts in Popular Music and Performance and in 2012 travelled to New York to study at America’s Musical Theatre Conservatorium CAP21. She has performed professionally in stage and screen and written new works that have been presented in both Australia and New York.

Will Hannagan is a theatre-maker, songwriter and pop-cabaret performer based in Melbourne. Past works include, Gaga V Assange, Affluenza, Pop Press and Until Tomorrow. His works have appeared in numerous festivals and abroad. He holds a degree in English and French from the University of Melbourne.

Dogfight, Chapel Off Chapel, Thursday May 12th 2016

Dogfight, Chapel Off Chapel, Thursday May 12th 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.

Congratulations to the cast of "Dogfight" presented by Doorstep Arts.  In 2012 we saw the Second Stage Theatre  production of  "Dogfight" on Broadway, and we were hesitant about seeing it again. We were very pleasantly surprised with this production by Doorstep Arts.   Yeah, some of the staging is a bit clunky at times but the singing harmonies were terrific.  The two leads nailed the final scene with honesty and integrity.  We thought the actors playing Rose, Eddie and Marcy were just as good as the leads on Broadway.  In fact my partner preferred this version.

The Chapel Off Chapel website for buying tickets needs some work to make the sequencing flow more seamless.

Two very friendly programme sellers (VCA students) were stationed outside the door of the theatre at about 7.25 pm for an 8.00 pm start.  The show started within a respectable 5 minutes of the advertised 8.00 pm start.

The programme was a rolled up A3 double sided "San Francisco Chronicle" available for a gold coin donation.  The Director's notes were comprehensive and the biographies of both cast and crew had their name and function/role underneath their name.  I know this seems a small thing to ask but it is great to quickly see the name of the person and their function/role.  Too many programmes state the name but not their function or role next to their photograph.

Three main things were missing from the programme including the year, 2016 for this production of "Dogfight", the song list and the character's full names (for example Eddie Birdlace and Rose Fenny). Granted the Playbill from 2012 only lists these two surnames as does the Original Cast Recording.

No pre-show announcement was made regarding mobile phones etc.  One mobile phone was checked during Act One and spoiled the entrance of Rose into a scene.  The light flashing on the phone completely distracted my peripheral vision.  The Second Stage Theatre presented "Dogfight" at the Tony Kiser Theatre at 43rd Street and has a large sign saying it is a condition of entry to turn off phones prior to entry.  I wish other theatres in Australia had this rule and adhered to it!

Set Design by Shane Thompson was totally different from the two level Second Stage Theatre production.  Upon arriving in the theatre the band was enclosed in a gazebo or bandstand that was made of two set pieces, which would later be wheeled around and used in various ways.  Part of the Golden Gate Bridge was looming in the background reminiscent of "In the Heights" (under the George Washington Bridge). The smaller truck was used to create both a church pew when faced concavely to the audience and a window when convex to the audience.  The position of the church pew and praying moment was a bit lost as it was so quick and so far downstage - it required more significant lighting to draw our focus. This "It's a miracle" moment during the "Hey Good Looking" song was so fleeting.  It could have been staged for all audience members to see clearly as so much gets lost in the extreme down stage areas of Chapel Off Chapel. Do not play within one metre of the front row as many in the audience cannot see the action!

Sets were are a bit clunky at times, this was not necessarily a design flaw, but either the direction and/or execution of their movements.  I have seen some incredible shows were the cast move the sets either in or out of character and create seamless transitions to the next scene.   The pew/window steps on down-stage-right needed a white safety stripe for the audience not to bump into when leaving at interval! Alternatively, an usher should have been situated to alert patrons to be careful of the set piece.

I liked the façade/door frame wheeled around to create different locations.  This large set was wheeled around to show either the red front or black rear with a low platform.  Very effectively used when positioned, though the transitions between scenes could have incorporated more seamless movement of the set pieces.

Lighting Design by Martin Kinnane created very clear locations especially the walking scene with Eddie and Rose in Act One, which was well lit to create street lighting that moved around the stage.  When Eddie leaves Rose's bedroom, the bumping out of the bedroom set upstaged Eddie outside, and the lighting was not distinct enough to create his location.
  

The lighting for the Vietnam war scene could have included some blood red or "Agent Orange" to contrast from the blinding flashes.  I remember in the Broadway production I had tears rolling down my face with the holistic direction of this horrifying scene, where as here it did not move me as it should have. The Vietnam War was the first war that was basically live on TV every night on the news.  It was so horrific as a child to see these images on the screen.  It was our child hood lost in the 1960s and this is the image I wanted in this production.

While the Broadway production had a two storey set and flashier lighting with the neon signs for locations, this production achieved the various locations with simpler staging and lighting design. Maybe more ensemble work to create atmosphere for each location would enhance this production.  I yearned to see the actors enter and visualise the smell, feel, touch and sounds of each location.  It would be interesting to ask the actors what was the colour of the walls in various scenes.

Choreography by Leanne Marsland was more masculine than compared to the promotional video.   I liked her staging and sequences.  More so she made the men move as if expressing themselves through dance, rather than making them dancers.  The distribution of the firearms sequence in "Some Kinda Time" lacked precision and needed more direction.  These marines had just completed their military training and would have been sharp as a razor when receiving their weapons.  Although the next dance sequence was sharper it should have been drill perfect.  

Overall the accents were good.  Some of the accents need work as one actor changed accent from Act One to Act Two.  The word "knew" is "noo" etc.  Intonation at times did not drive to the end of sentences as per American accents.

Costumes were designed by Riannon Irving and though the men's costumes were not accurate, they did capture the 1963 era.  The cuffs of the men's trousers needed to be taken up as they were way too long for 1963.  Bearing in mind the marines had just completed their training - the "spit and polish" and pride was not evident in the ritual of dressing and wearing the uniforms.  For example, Eddie's collar needed adjustment when he dressed after visiting Rose.  Rose's costumes were dowdy and plain enough for 1963.  Marcy's hooker outfit was perfect for Jaclyn Devincentis.  In the party scene, some of the women's costumes were too cartoon-esque and we focused on their ridiculous outfits, which took away from the men's cruel behaviour.

The men's crew cuts were too long for the boys who were shipping out from San Francisco the next day.

Sound Design by Marcello Lo Ricco was not intrusive like some productions.  I did not hear a tinny or artificial sound and can only praise the quality of the sound.  This production was sound enhanced and did not sound miked.  Take that as a huge compliment as not noticing it ensures that the sound design is integrated into the holistic experience.

The Club Singer played by Tim Carney  wore a silver suit with one shirt button done up, and trousers with extra long legs.  I am still wondering if this was quick change gone astray, a design flaw or both. This sloppy look also highlighted the discrepancy of the song "That Face" that needed more polish in order to support building the juxtaposition of the tension in the scene.

The final sequence with Eddie's solo, "Come Back" is both an emotional and physical transition from Vietnam to arriving in San Francisco.  This transition was staged simply and very effectively as if Eddie was rising out of the ashes.  "Come Back" was sung beautifully by  Alexander Woodward  with sincerity and compassion.  I longed for more of these heightened emotional connections to the material.  I got to see inside his Vietnam experience which is what I mean by creating atmosphere.

The arrival to San Francisco with the kaftan wearing and beaded hippies was staged simply and effectively to build to the climax of the scene.

Generally I longed for more emotional connection to the work.  Some of the various character's motivations need work to ensue the audience is more sympathetic with certain characters, and/or hateful of their actions.  With certain lines the dialogue was not grounded enough into the 1963 manners but had a more modern interpretation.

Rose Fenny was played brilliantly by Olivia Charalambous.  She was as good as the Broadway Rose Fenny.  With more clarity in direction with some of the motivations in some scenes, she could be better than brilliant.  Olivia Charalambous' singing was sublime as she did not force the naivety or innocence of Rose.   Her working in the diner appeared natural as if she had been doing it for years helping her mother.  I even liked the after hours joke of emptying the dust pan of sugar into her tray -highlighting what patrons normally do not see.  Roses' party dress selection scene did not have the luxury of a closet or rack of clothes.  Olivia Charalambous made the most of the dresses strewn across her bed.    Her Act One finale song "Funny" was sung with genuine despair and self-realisation that built to show Rose's strength, determination and resilience.  

Act Two opened with "Hometown Hero's Ticker Tape Parade" that reset the tension of the imminent departure of the marines for Vietnam.  The walking scene between Rose and Eddie did not use the same sort of lighting to create space which I thought was odd.  The clever use of the larger set piece created so many wonderful images of locations.  The "First Date" scene between Rose and Eddie in the restaurant showed us a tentative reconciliation and new level of .building trust in their short relationship.  Sparks were beginning to fly and hope was back on the agenda.

 Alexander Woodward played Eddie Birdlace with youthful exuberance and valour.   The magnificent voice of Alexander Woodward  made luxurious harmonies with Olivia Charalambous.

The connection between Rose and Eddie in the final scene created the gulp in my throat I was hoping for.  I admit I did yearn for more of these moments throughout, and I know this cast could have had this drawn out of them.  The finale "Take Me Back" is not only a personal duet for Rose and Eddie, it more importantly represents the reconciliation and acceptance of a pacifist welcoming home a soldier who went to Vietnam.  In 1967 many Vietnam veterans were scorned upon on their return and this finale with Rose and Eddie shows us the many feelings of what a nation is thinking.

Musical Direction by Trevor Jones created a full sound with a small five piece band.  The harmonies of the ensemble were terrific.

Joel Granger played Bernstein with virginal, wide-eyed hope.  He clearly showed us a journey into manhood and destruction.

Zoy Frangos played Boland with natural strength and masculinity.  Though there was a bond with Birdlace and Bernstein, and I wanted more electricity in his final altercation with Birdlace to show the weight of their actions and consequences.

I did not feel the emotional charge when specific characters were killed in Act Two.  I remember having tears rolling down my face at the Broadway production and I longed for this connection to the deaths in this production.

Other cast included James Coley as Fector and Daniel Cosgrove as Stevens, Jack Van Staveren as Gibbs, and Joel Granger who provided depth to the harmonies,  (Note how he looks very much like the American born Daniel Cosgrove !  They could be brothers on "Days of Our Lives"!)

Hannah McInnerney physically and vocally differentiated between her Librarian, Ruth Two Bears and Chippy characters.

Sally Bourne as Mama and Suzette also differentiated clearly between these characters.  In her brief scene as Mama she demonstrated her concern for Rose.  We could visualise her asleep when Rose did not want to wake her.  To create this image requires conviction of the relationship between mother and daughter.  Sally Bourne and Olivia Charalambous  in their brief encounters were able to create a believable relationship of mother and daughter,

Marcy was played magnificently by Jaclyn Devincentis as a more buxom and realistic hooker who physically looked as if she could handle herself.   Marcy singing and explaining the rules of "Dogfight" to Rose built some tension but could have done so more with their interaction via the mirror.  Jaclyn Devincentis' singing was as good as ever and is such a dynamo performer.  When scooping up the money she missed one bill.  Whether this was directed or not she picked it up when her character noticed it.  Maybe it could have been scooped up a bit more greedily.

Darylin Raymondo has directed a fine interpretation of "Dogfight"with a limited budget. Some aspects that I noted are picky and she should be proud of this production.

Olivia Charalambous,  Alexander Woodward , Jaclyn Devincentis,  Zoy Frangos and Joel Granger are all performers to watch in the future.  I look forward to seeing other roles by the remaining cast members.  The future of musical theatre in Australia gets stronger every year with such a talented cast.

My partner preferred this production to the Original Broadway 2012 production and gave it a 9/10.  I gave this production a respectable 8/10.