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.

Nutcracker - The Story of Clara, Australian Ballet, State Theatre, Arts Centre Melbourne, Wednesday June 7th 2017

Nutcracker - The Story of Clara, Australian Ballet, State Theatre, Arts Centre Melbourne, Wednesday June 7th 2017

"Nutcracker - The Story of Clara" choreographed by Graeme Murphy was presented by The Australian Ballet at the State Theatre, Arts Centre,  Melbourne on Wednesday June 7th 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.

"Nutcracker - The Story of Clara" choreographed by Graeme Murphy is my favourite version of this beautiful Christmas story.  This is the fourth time I have seen this ballet presented by The Australian Ballet at the State Theatre, Arts Centre in  Melbourne.

In summary the dancing was sublime but the scene changes in Act Two were clunky and created unnecessary pauses and disrupted the flow.  So therefore my overall rating dropped from what should have been a minimum 9/10 experience.

On a more positive note the re-interpretation of the concept by Graeme Murphy and Kristian Fredrikson stands the test of time: being 25 years since "Nutcracker - The Story of Clara" was first realised.  The more I see this ballet the more depth I see in Graeme Murphy's choreography.  For the first time I realised the formation of the eighteen snowflakes at the end of Act One created the capital letter N - for Nutrcracker.  Magical stuff.

I have tears in my eyes whenever I tell people about this version of "Nutcracker - The Story of Clara" as it tells the back-story of the origins of The Australian Ballet.

I adore the pre-show reveal of the children playing in the Australian backyard under the iconic Hills Hoist clothes-line.

Chrissa Keramidas danced the role of Clara, the Elder with grace and assurance.  She showed us the wealth of her international experience and wisdom in her impressive performance.  Welcome home Chrissa Keramidas to the Australian stage and we hope to see more of your charisma.

Clara, the Child was danced beautifully by Jessica Stratton-Smith.

Amy Harris danced the role of Clara, the Ballerina exquisitely.

The three Clara's danced together in short moments of recognition creating poignant vignettes.

Yes Colin Peasley knocked over one of the Babushka dolls and quickly picked it up and put it back in its position.  He replaced this doll so naturally so as not to disrupt the line of dolls created by the group of Russian Emigre Friends.  To break the perfect line would be to be disrespectful to their disciplined ballet training.  By ensuring he contributes, to create the beautiful straight line of dolls, added a little bit of realistic tension to their relationships.  I cannot remember this moment from previous viewings but it should be kept in.

The dropped bread in the picnic scene always brings gasps from the audience.  This highlights the tension of the Russian class structure and is a simple device to provide so much background information and depth to the story.

I cannot rave enough about the quality of the dancing in "Nutcracker - The Story of Clara".   The young children were flawless and exciting to watch.

Andrew Killian as the Doctor sat for an extended period of time before making the transformation to the Beloved Officer.  Clara, the Ballerina danced by Amy Harris was breathtaking.  The first entrance together down the stairs to Andrew Killian lifting her onto his shoulder was cautious and with foundation.  I am in awe at the trust of these two brilliant dancers as he had been sitting for a long time and then in such a short walk is expected to be fully charged to support her.  So me describing their first lift as cautious is such a tribute to the respect and delicate situation they portrayed.  

Amy Harris and Andrew Killian were exquisite in their pas de deux.  Yes slightly off balance and needed some correction - but this was team work.  Some of the lifts are taxing.  When Amy Harris threw herself into Andrew Killian 's arms - the audience drew audible gasps.  The lack of applause was because the audience were internally beating their hearts in recognition of such incredible trust and beauty.  I know my heart was pounding with admiration and I have tears in my eyes now as I remember this moment.

The picnic scene was danced beautifully by Christopher Rodgers-Wilson, Jake Mangakahia, Dana Stephenson and Valerie Terschechenko who differentiated the class structure to the two passing peasants. 

The change-over from Clara, the Elder to Clara the Ballerina, in the bed upstairs, was not as neat as other performance.  A small quibble, but I relished it as every other performance was seamless.  I must confess that I wanted to see how they did the change-over.  I knew it would be a simple stage trick but I had been imagining a secret compartment or a spring loaded bed (all in keeping with the magic of the Nutcracker's theme).  So, I must admit I was very grateful for this revelation of magic. In doing so, my heart leapt with joy at the simplicity of the design.

The orchestra led by Simon Threw received thunderous applause for their brilliant performance.  The most magical moment is the transition from the overture playing on the radio to the orchestra joining in.  This is an absolutely priceless segue that highlights the magic yet to come.

I hope one day The Australian Ballet would do an entire season of Graeme Murphy's works, including "Swan Lake", "Tivoli", "Beyond Twelve" and of course "Nutcracker - The Story of Clara".

I gave this performance of "Nutcracker - The Story of Clara" a 7.5/10.

Wild Bore, Beckett Theatre at Malthouse Theatre, Wednesday May 31st 2017

"Wild Bore", Beckett Theatre at Malthouse Theatre, Wednesday May 31st 2017

"Wild Bore" was presented at the Beckett Theatre, Malthouse Theatre on Wednesday May 31st 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.

"Wild Bore" had a warning that it will offend.  Sorry the most offensive part of the show was the woman in front who turned on her mobile to start texting about forty minutes into the show.  She nearly jumped out of her skin when I told her to turn it off!

"Wild Bore" was very funny at times and could do with some fat trimming of the script to tighten the product.

I loved the set within a set within a set concept.  Many late comers would have missed the opening with the stage manager preparing the drape around the trestle table and therefore showing us the empty space underneath.  This was the traditional magician's set up for a routine.

The opening sequence with the bums talking to us was fun.  The drinking of the bottle of water through the anus drew sniggers and shrieks.  The funnier part was when the actress later drank from the same water bottle and her colleague also drank from it.  I loved the second actress picking hairs from her mouth - a subtle joke that barely drew a reaction.

"Wild Bore" was a meditative philosophical indulgence that was worth seeing.  The three actresses had the audience thinking.

"Wild Bore" was not as confronting as other shows that I have seen, but in this age of political correctness it was refreshing to be taken back to the 1970's at times.

"Wild Bore" deserves to tour to showcase the odd ball humour and it will create controversy in some countries.

"Wild Bore" could do service to theatre goers to ensure that all phones are off.  Maybe they could include something about respect and why some people do not go to the theatre any more due to the rudeness of people on phones, texting, scrolling and even sometimes talking.

"Wild Bore" is a kink version of theatre catering for a variety of patrons.

I gave this production a 6.5/10 and my partner gave it a 5/10..

Additional notes:  I could not resist the following observations:

"Wild Bore" is a three ring circus of speaking "pussies" rear ended.  This is note worthy as the Ringling Brothers and Barnum and Bailey Circus played their final show on May 21st 2017, so now we have to contend with the new animal acts - pussy.  (Note pussy in both a Australian and American context!) Do not go if you are easily offended and be one of the "Three blind mice"!

"Wild Bore" is the "Ring Cycle" of bum and poo jokes that a deep theatrical philosophical colonoscopy providing food for thought.  The messages and provocations have honourable intentions for the future of the human race.

"Wild Bore" is a "Ring Cycle" of Abba's "Ring Ring" with the rudeness of patrons on their phones!

I Love You, You're Perfect, Now Change, Griffith University Queensland Conservatorium, Chapel Off Chapel, Saturday April 22nd 2017

"I Love You, You're Perfect, Now Change", Griffith University Queensland Conservatorium, Chapel Off Chapel, Saturday April 22nd 2017

"I Love You, You're Perfect, Now Change", with book and lyrics by Joe Dipietro and music by Jimmy Roberts was presented by the Griffith University Queensland Conservatorium, Chapel Off Chapel, on Saturday April 22nd 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.

Immediately arriving home I wrote the following paragraph onto my Facebook page:

"The Griffith University/Queensland Conservatorium production of "I Love You, You're Perfect, Now Change" played a short three night season at Chapel Off Chapel.  They are going to play in Sydney at the Lend Lease Darling Quarter Theatre 1-25 Harbour St Sydney from April 27-29th 2017.  They did a fine job, with what is usually played as a four-hander, with a cast of 27.  The harmony singing was terrific and there were some very talented young performers. They changed some of the songs for a larger ensemble that gives more depth to the music.   Some of the comedy timing works better than other scenes.  They played the poignant scenes with honesty. I laughed a lot tonight and thoroughly enjoyed the show."

"I Love You, You're Perfect, Now Change" was presented by Griffith University Queensland Conservatorium, at  Chapel Off Chapel for a short three day season and we saw it on Saturday April 22nd 2017

Some scenes worked better than others, though the singing was generally very good.  The diction with singing was clearer than some of the speaking.  There were rich harmonies and this is where the cast shone with the large ensemble numbers.

Yes, some segues between scenes could do with tightening up.  But, hey this is a student production of the highest quality.

Acting wise some of the cast maintained their character with more conviction than others.  The best actors were those who clearly defined their character, even when a background player.  It was terrific to see the roles shared among the whole cast.  I now prefer this version with a larger cast as it showed us more versions of regular people in these situations, and struck a nerve-of-recognition by the audience's laughter and engagement.

The small orchestra of five played the score well and were not distracting as they were upstage centre during the entire show.  Three of the orchestra were in the main cast and showed their versatility for future employers.

This musical was well cast with the student cast as they played a variety of roles and ages.  This young cast brought Joe Dipietro's book and lyrics, and  Jimmy Roberts' music to life.  No wonder this show ran for nearly twelve years Off-Broadway with such a tight book and such hummable tunes.

Lighting Design by Tom Dodds was basic and adequate.  The simplicity of the design was its success with no flashy tricks, but rather designs that kept our focus on the required action.

The programme clearly outlined the musical numbers and scenes with the corresponding cast list that aids in my memory of the show.  I hope that more production companies follow their example.

Chapel Off Chapel has renovated the bar and toilets that gives the venue a much more appealing supporting role.

During Act Two, there was a mobile phone incident that the entire theatre could see.  In the second row aisle seat, a woman just had to check her messages during a song.  She held her phone up high enough so that the back row could not miss her rudeness.  It was so distracting as the front row seats were vacant for any late comers.  Her prominent holding of her phone so high even took the cast aback by her rudeness.

The opening set the scene for what we were to expect.

I do not remember "We Had It All" in the 1999 version that I saw at the Athenaeum Theatre.  The "Not tonight I'm busy" scene was played well by Zoe Harlen and Oliver Lacey as they replayed variations of the scene over time.  They set the mood and the standards for many of the scenes to follow.

"A Stud and a Babe" showed us how both Jessica Mahony and Grady Swithenbank can transition between nerdy characters to more confident characters.  His costume was decidedly gaudy in keeping with the lyrics of the song.

The men sung "Why? Cause I'm a Guy" with gusto and verve.  They showed their commitment to the choreography with their defined characters' poses and mannerisms.  The ladies had masking concerns due to the small stage.

"Tear Jerk" showed us the change in Casey Martin's character with humour while he watched an unwanted "chick flick" as Shubshri Kandiah graciously and steadfastly held her characterisation.  The ensemble on stage left was in semi darkness with a simple and effective lighting plot by Tom Dodds, reminiscent of the cinema scene from "Equus".

"The Lasagna Incident" was well staged with Jordan Malone restraining her sexual tension, while we questioned Philip Jones' character's sexual preference or his virginal naivety.

"And Now the Parents" was one of the funniest scenes due to the defined characterisations of the parents ably played by Olivia Fisher and Josh Whitten.  The choreography by Helena Moore was crisp and clean with six framed observers seated watching the antics as if a Greek chorus.  They reminded me of the paintings on the wall from Harry Potter's Hogwart's school halls observing the action.  Austin David Cornish and Georgia Spark played the prospective couple and allowed the parents to shine during "Hey There, Single Gal/Guy".  Some women in the seated ensemble were not as clean with their head movements as others.  The crispness and sharpness added to the humour, especially with the more expressive faces.

"Satisfaction Guaranteed" was a funny scene especially with the entrance of the two men wearing lampshades on their heads.  With no wing space they entered via the tunnel on the audience left. It would have been funnier with a cleaner entrance from the wings of a theatre, and these young performers navigated the space with some hesitation, but I admired their determination.  Of all scenes, this looked like a drama school exercise.

"He Called Me" was a terrific scene especially for the journey of Shelise Vandal's character.  She showed us how we can get caught in unwanted phone-calls with honesty, and juxtaposed this with the change in her surprise in the second phone-call.  The choreography could have been executed a bit more accurately with the use of the pizza boxes.

"Scared Straight" was my favourite scene with the exactitude of intention from all four main players.  The entrance of Elliot Baker will not be quickly forgotten.  He has a rich tone to his voice and reminds me of Rowan Atkinson.   The young couple Sammy Sand and Jenna Dearness-Dark showed us how quickly they could be convinced to be united by the measured manipulation of Elliot Baker and Georgia Bolton.

The "Wedding Vows" scene was well staged for a large cast on such a small stage.   Some of the supporting cast defined and maintained their character more clearly than others.  The kiss sealed the end of Act One.

Act Two began cleanly with the end of Act One kiss.  This was where the basic lighting was at its best showing the couple in silhouette to begin the act.

Act Two shows the various characters aging with children, sexual deprivation, relationship complacency and funerals.  The characters age well and are well cast.

"Always A Bridesmaid" was a song made in heaven for the statuesque Hannah Gwatkin.  She would make a wonderful Ado Annie from "Oklahoma".  The version of this song with two other females (Maddison McDonald and Zoe Harlan) and the lone male, Casey Martin was poignant and touching to reveal, that men too, can play second fiddle to a bride or groom.  The harmonies were rich and emphasised the pathos of the scene.  Here the costumes worked well to highlight the ridiculous amounts spent on weddings.

"Whatever Happened to Baby's Parents" and "The Baby Song", could have been hammed up, but not so, as this scene, was in the capable hands of this fine trio.  They drew blood with the laughs they received from an audience who cringed in recognising common behaviours in this scene.  Joshua Moore's humiliation of baby talk was haunting.  The simple props aided the scene.

The "Waiting"  sequence and the "Waiting Trio" song was better than the four characters version. The 32 seconds of the football game drew lots of laughs of recognition from the audience, as Georgia Bolton was not to be disturbed by Shrubshri Kandiah.  The queuing for the ladies toilets was visually more realistic and desperate with five ladies. Manda Flannery had us convinced that she needed to pee.  Josh Whitten was brilliant in his shopping porter sequence and the audience roared laughter with recognition at his character's plight.  He is a real talent to watch and would be terrific as Nicely Nicely Johnson from "Guys and Dolls".  This sequence reminded me of the split-action during Sydney Theatre Company's version of "Falsettos".

"The Family That Drives Together" and the song "On the Highway of Love" was my favourite scene for the clarity of defined characters by all five performers. The timing of the comedy worked beautifully with the sly nuanced idiosyncrasies of each character.  Oliver Lacey as the dad who finally had control behind the wheel of his car revealed his macho ego, as the mother was played with requisite nervous tension by Courtney Monsma.  The baby with dummy was played by Olivia Fisher, which was a great piece of casting, as she surprised us by her sudden change in age as the mother from "And Now the Parents".  The two older sisters were played with conviction by Jessica Mahony and Jordan Malone.

"Shouldn't I Be Less in Love With You" highlighted the stillness of Meg Hamilton's aura as she quietly read the supplement from the newspaper, while her husband, Elliot Baker lamented his complacent love for her.  The scene was more poignant for her measured underplaying and comfort in her own surroundings.  Both played a middle aged couple with honesty.

"The Very First Dating Video of Rose Ritz" had Lauren Ware doing a sterling job in this self revelation that grows into a confessional scene of assurance and self satisfaction to be comfortable in her own skin.  This is a scene of resolve and the final lines are telling as she does not want to change a thing, which is in stark contrast to the title of this musical.

"Funerals Are for Dating" and "I Can Live With That" was poignantly played by Georgia Spark and Caleb Robinson-Cook who played the older couple with conviction and sincerity.  It is a very quiet and reflective sequence and brings the musical into clear focus of our humanity.

The finale, the "Epilogue" and "I Love You, You're Perfect Now Change" was stirring musically with the resounding and sensational harmonies of the ensemble.  The staging was brilliant to pair or group the performers as we were reminded of each character's journey.  I was glad for a reprise, but I wanted this whole sequence repeated.  I think by the audience's applause they wanted "Epilogue" and "I Love You, You're Perfect Now Change" completely repeated.

Sue Rider, the director should be very proud of this fine group of young performers.  Musical Director, Heidi Loveland should also be proud of the fine ensemble.

Overall, this production obtained an 8/10 from me, while my partner gave it an 8.5/10.

Lord of the Flies, Matthew Bourne's New Adventures & Re:Bourne, State Theatre, Arts Centre Melbourne, Saturday April 8th 2017

Lord of the Flies, Matthew Bourne's New Adventures & Re:Bourne, State Theatre, Arts Centre Melbourne, Saturday April 8th 2017

"Lord of the Flies" from the novel by William Golding has been adapted by Matthew Bourne's New Adventures & Re:Bourne, and was presented at the State Theatre, Arts Centre Melbourne, Saturday April 8th 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.

"Lord of the Flies" is co-directed by Matthew Bourne and Scott Ambler, while  "Lord of the Flies" is choreographed by Scott Ambler, who uses a variety of styles of movement to encompass so many emotions and atmospheres. Scott Ambler has created iconic moments from the book and translated them to the stage with clarity and finesse.  His movement vocabulary expands from the archetypal to more specific.

The set and costumes are designed by Lez Brotherston who has succeeded on many fronts with the versatility of the available props and staging levels.  The set is a stage of a deserted theatre.  The boys begin in crisp school uniforms and gradually these change due to the circumstances.  The costumes on the racks should have been covered to be kept so clean, or, they should have been dusty to heighten the realism of a deserted theatre.  This took away an edge of the drama.

The transposition from an island to a disused theatre works and the set reminded me of the 2011 revival of "Follies".  This work would be so much more haunting in a venue similar to the old HSV Tele-theatre where "The Rocky Horror Show" played in Melbourne in 1975.

Scott Ambler's  choreography has succeeded on many fronts, beginning with the precision of the boys marching during their opening entrance.  The boys are in years and size order as they create a distinct school grading hierarchy.  They vary the formations to highlight their discipline and ability to follow instructions.    This is ominous as we readers know what is to come.  The subsequent formations and patterns highlight the passing down of traditions via a system within well drilled disciplined school.  What were the young boys to become in their formative years was shown by the older boys.  There is so much depth in the simplicity of the patterns: as we are watching their fate within this opening: to become like the older boys. All of the the young dancers were accurate and precise in their movements and would make the production team very proud indeed.

My heart leaped a beat of joy, as many of these young boys and men are having opportunities that will influence them for the rest of their lives.

Gradually the boys relax and become playful as they discover the insides of the derelict theatre.  This is where the choreography and staging becomes more complex.  Each boy has a distinct personality and they are responsible to tell their character's individual story.  The action is more staging rather than dance choreography and each boy has their moment to shine.  The staging is complex and integrates lots of small groups and duets and cameo solos to allow us to get to know the different characters.  Each boy has a unique way of moving for their character, some more defined than others.

There are some clever and theatrical uses of the 44 gallon drums to create cars and tanks that paid homage to the pedal car from "The Flintstones".  

A duet of gymnastic boys hung and swung on the poles supporting the main structure, with great precision and lovely lines.

A drumstick is discovered and replaces the conch from the novel.  The staging and choreography of the drumstick sequence is so clear emphasising the rules of listening to who holds the drumstick and the democratic process used by the school boys.

As the day becomes darker, mobile phones are taken out and used as torches to discover the theatre.  A search party is sent out to find food and water. This group goes into the audience.  They return with boxes of potato chips, sweets and water.  Wearing hoodies is reference to modern culture that challenges our traditional image of hooded youth from hoodlums to survivors or food saviours.

Simon (Patrick Weir) helps supervise setting up shelters and also is aware of protecting the younger and more vulnerable boys.  There is so much depth in these scenes that I cannot keep up with each of the characters.  I try to go with the flow.  I want to absorb so much of this production.

Gradually the boys turn to discovering, playing, and play-fighting until disorder eventually ensues. 

There is the famous pig hunting scene when the pig is beheaded and put onto a stake as a badge of honour.  There is short sequence that reminded me of Ravel's music and Maurice Bejart's ballet "Bolero".  This creates such a powerful image that is more disturbing due to their youth.  

The fire smoke signal scene is used to also keep the boys warm.

There is the power struggle between Ralph (Dominic North) and Jack (Daniel Wright) with a duet power struggle/fight sequence. Both men dance with conviction and unrelenting intensity.  Jack (Daniel Wright) develops from a confident strong man to a savage.

Piggy (Luke Murphy) assures Ralph (Dominic North) and supports him of his leadership role.  They join allegiance in fear of what Jack might become.  They use the clothes racks as shelter and protection and cover from Jack's gang.

Jack (Daniel Wright) breaks Piggy's glasses.  Piggy (Luke Murphy) goes searching for his glasses in a moving solo of pain and vulnerability.

A ghost or a stranger appears from the orchestra pit and I think this represented the corpse of the fighter pilot .    The young boy Percy (William Gilchrist) with his teddy bear sees the dead body and is frightened and seeks cover.

The dance becomes a ritual, that is tribal and primitive, and reminds me of the savages dances in old movies including "King Kong".

There is a menacing and maniacal chase scene of savagery, up and over and under the tiered set of scaffolding.  This chase is both dangerous due to the multi tiered set and the speed of the choreography.  The whole cast danced this sequence with requisite desperation and intent.

A young man on stage right unravels a tethered rope, and appears to lower a moon.  The various pigs dance a haunting pas de quatre in front of the moon to create striking silhouettes.   Simon (Patrick Weir) dances with four pig characters in a haunting nightmare.  Sadly, when pulling the rope back to raise the moon, the co-ordination alerted me that someone else must have been lowering and raising this large set piece in the wings. The entry of the moon entranced me by the magic of theatre, while the raising of the moon lost me by mistimed execution.

Some of the facial expressions and body language are priceless, while other expressions are forced and lacked a real connection to the emotional thread of the story.  The tender touch of Freddie (Joseph Wise-Nash) checking on another boy was magical and honest.  The shattering of the innocence of boyhood was played admirably Percy (William Gilchrist) with a clear arc of his character's story line.  His hiding under the step comforted by his teddy bear was priceless.

The roller door, upstage, opens and an armed soldier enters.  The boys are curious at his arrival, and gradually gain his confidence and leave - rescued from their ordeal.  Ralph (Dominic North)  sits at the front of the stage looking into the audience reflecting upon their collective experience and the future of mankind. This image is powerful as he could become the new theatre ghost.

Lighting design by Chris Davey enhances the various atmospheres to emphasise order, precision and discipline to the resulting fear, terror and savagery.  Chris Davey does so in many ways including dimming, focusing, spotlights, back-lighting and side lighting.  Lighting up the auditorium has a duel effect of the boy's exploring beyond the stage and more importantly exposes the audience members as potential victims or allies.  This effect makes many in the audience sit upright and take stock that they are also exposed.  This is a mirror to our world; as it could happen to anyone if you were in the boy's situation.

Music by Terry Davies builds from the military precision to foretelling doom to savage crescendos. Terry Davies' beat underscores many sections of the music to create a pulsating heart beat racing and trying to catch its breath.

There was not a weak performance in "Lord of the Flies",  and Matthew Bourne, Scott Ambler and  New Adventures & Re:Bourne should be proud of not only their theatrical work, but more importantly their work in developing these fine young men.

The calibre of the dancing was terrific and Matthew Bourne's New Adventures & Re:Bourne should be very happy.  The younger performers were watching their role models and were being mentored as to how men dance with masculinity and  strength.  These fine performers were so well rehearsed and showed that dance can display so many levels of emotional sensibilities and human responses.

I adore the story telling by Matthew Bourne, Scott Ambler and company as they make story accessible and understandable while many other dance works lack his clarity and precision.

I am saddened as I would like to see this production of "Lord of the Flies" again due to the depth of complex staging and specific direction for each character.  At times, there was so much happening that I did not want to miss out on the growth (or demise) of each character.  Mind you, the audience focus was central in the direction when required to ensure we did not miss out on the key elements of the story.

The programme for "Lord of the Flies" was good value as there was only one half page of advertisements on the inner back cover that showed the sponsors and partners.  I wanted the programme to include a short synopsis of some of the key events or a summary of the adaptation of the book.

New Adventures & Re:Bourne is one of the most accessible dance companies in the world due to their rich collective of talent in this company.   Matthew Bourne is a genius to develop so much talent internationally and I long to see this company again soon.

I am very keen to see more works by New Adventures & Re:Bourne, in particular The Car Man, The Red Shoes, The Sleeping Beauty, Cinderella, Dorian Gray, Nutcracker, Play Without Words, Highland Fling and Early Adventures as I have seen Swan Lake and Edward Scissorhands.

Overall "Lord of the Flies" obtains an 8/10.  My partner gave it a 5/10 as it went on far too long for his liking.

Note:  (When researching the links for dancers and artistic staff, I found the 32 page Teacher Resource pack on the New Adventures & Re:Bourne website.  I did not change my review and will read the Teacher Resource Pack to enhance my experience.  This is what great theatre does - it lingers on.)

The five page synopsis in the New Adventures & Re:Bourne website is brilliant and I wish this had been included into the programme.

Faster, Australian Ballet, State Theatre, Arts Centre Melbourne, Wednesday March 22nd 2017

Faster, Australian Ballet, State Theatre, Arts Centre Melbourne, Wednesday March 22nd 2017

"Faster", a triple bill of contemporary ballets was presented by The Australian Ballet at the State Theatre, Arts Centre Melbourne on Wednesday March 22nd 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.

"Faster" comprises of three ballets "Faster", "Squander and Glory" and "Infra".

"Faster", choreographed by David Bintley, originally for the London 2012 Olympics.  The opening tableau shows the dancers in various athletic poses.  They rotate as if on a lazy susan and posture into their poses again.


The costumes by Bec Andrews were fun, and paid homage to some sports more so than others, due to the obvious clarity of design.

The backdrop included the black curtains scrolling into various formations - showing a lit area at the top, middle or bottom.  It was as if we were scrolling through the selection of television stations to choose our sport for the night.  There were lines marked on the stage and up the two sides of the wing tabs, giving the impression of the corridor for each athlete's lane.

"Faster" is a good introduction to sports fans to ballet, but It could be potentially a greater work with more clarity.  Sadly the choreography gets confusing, namely, the duet that appeared to have an injury and seemed to be about fighting.  Wait, my friend read the pages in the program and it explains something about it. Great ballets stand by the choreography, and you should not have to read to explain what it is about for it to work.  We should not have to decipher to interpret the body language. It should be clear.  Great ballets express the kinaesthetic emotional connection to the back of the upper circle in a theatre.

The choreography, at times, had moments of brilliance.  Sometimes sections came across as the local ballet school end of year of performance.  The choreography was passable for "So You Think You Can Dance" group numbers.

Compare David Bintley's confusing choreography to Nijinsky's "Jeux" , or to Graeme Murphy's football ballet "Beyond Twelve" or even to Robert Ray's "Poems"; you can see the clarity and definition of the sports.

David Bintley succeeds the most with the simplicity and clarity of the Walker role, danced with tongue -in-cheek conviction by Ben Davis.  It is also paying homage to the three times joke from "A Funny Thing That Happened On The Way to the Forum".

David Bintley also succeeds with the aerial section that begins with the high jumper, exquisitely danced by the ever-reliable Amber Scott.  She was supported by the magnificent super-heroes Nathan Brook and Richard House.   The two fine men are from the Corps de Ballet!  Wow - what do we have to look forward to in the future from these fine men?  These three stole the "Faster" for me.

The synchronised swimming section was, at times, anything but synchronised.  Choreographically, there was a huge opportunity of the flashy and over-the-top entrance by competitors, the robotic and Instagram-moment of their pose before they dive into the pool.  Sadly, these moments were lost as they were not choreographed into the ballet.  The dancers showcased just how good the real synchronised swimmers actually are.  Remember, synchronised swimmers dance under water and are more synchronised than these dancers were.  

The basketball section could have played with the use of the group dynamics more, rather than the four dancers performing the unison ball-bouncing, throwing or leaping sequences.  Yes they executed this reasonable well, though one dancer was clearly not hitting their poses as cleanly as the other three dancers - it looked as if they were marking or walking their moves.

The Marathon section reminded me of a poor cousin to Twyla Tharp's "In the Upper Room".  I actually did enjoy the criss-cross of different groups and the pulsating of the various formations. The costumes were appropriate and realistic for the runners.  I most admired the dancers for their aerobic ability and their commitment to this work.

This ballet obtained a 6/10 both for choreography and for execution.

"Squander and Glory"  choreographed by Tim Harbour was a real surprise package.  Tim Harbour  has developed into a fine choreographer, though the opening group sequence reminds me of something I have seen before.  I am not sure if it was the Taiwan ballet and the history of Taiwan or another ballet.  Tim Harbour used this opening sequence and then surprised me with the break away formations.  The alternate groups dance different combinations that harmonised his work in a way  that I have not seen before.  I was so excited and was keen to watch this ballet progress.  

The male costumes by Peggy Jackson were not flattering at all.  The costumes did not work for me with the leggings with the bunched up fabric and crease which is not conducive to dance.  From the B Row in the Dress Circle, the men looked as if they had varicose veins  from the knees down with the lighting, the leggings, or both.  

The setting had a large mirror, reminiscent of "A Chorus Line" as the backdrop.  A large sculpture hung from above.  We could see the conductor, Nicolette Fraillon, in the mirror at times.  

The positioning or staging of the dancers with the lighting was frustrating at times until I realised the use of the mirror was integral to the action.  The mirror was part of the choreography, and cleverly drew our focus to ensure we moved with the dancers to get the best possible view of them.  Sometimes we had to watch the dancers, other times their reflections or both simultaneously. 

The dancers were so committed to this work with their steadfast resolve to look their best.  The entire cast danced so beautifully and should make Tim Harbour proud.

I adored the final image: the twelve dancers lying on the ground in a semi circle with the two main dancers centre stage, while we could see the conductor, Nicolette Fraillon framed so clearly in the mirror. It was as if she was a part of the ballet orchestrating and overseeing their every move as if God.

This ballet obtained a 7.5/10 both for choreography and execution.

"Infra"  choreographed by Wayne McGregor  reminded me of a play "Aladeen" I had seen in about 2004 at the Melbourne Festival.  The play was about call-centres in Mumbai and then how some of the characters moved to London.  The reason why I draw the comparison is that both pieces had a heavy reliance on the use of technology as a part of the action.  The difference here was that the technology was not overpowering, the figures projected on the backdrop were a part of the action.

This ballet also reminded me, and paid homage to the pedestrian walking scenes from the brilliant Jerome Robbins' ""The Concert".   Although there were no umbrellas in "Infra", the technology was its substitute.

The dancers connected with the music and to each other to bring magic to life.  They created electricity on stage with their various combinations and formations in such a way that the entire cast looked like principal dancers.

The dancing was brilliant.  To think there were numerous principals dancing, all of the dancers stepped up to Wayne McGregor's complex and demanding choreography, and they all danced to such a high standard.  

I have to make special mention of the young male dancer in the white t-shirt.  I think it was Jake Mangakahia who took my breath away.  He owned the stage without upstaging anyone.  Whenever he danced I could not take my eyes of his performance with his pure lines, and his dynamic athleticism.

The costumes by Moritz Junge were flattering for the dancers and complemented the work.

The figures scrolling across the backdrop highlight the short concentration span of modern life.  As the people they walk across the screen, it is as if  they are swiped from a phone or tablet after a viewer gets their endorphin hit.  It highlighted to me the disposable nature of people, friends or family.  Wayne McGrego shows us about connection for people and the juxtaposition of disregard for others.

Wayne McGregor gets us to focus on the real dancers and challenges us with our short memory spans to appreciate the fragility of life.  Sadly some audience members still do not get these images or messages as they have their eyes down on their mobile devices.  My neighbour tapped the gentleman in front on the shoulder to stop him playing on his phone.  Sadly his behaviour was not conducive to the major sponsor he was representing!.

I would love to see Wayne McGregor create a ballet with technology to demonstrate how Benesh Notation works to demonstrate the complex art of notation, and to highlight the amount of memory and skill involved in precision and execution compared to what is the ideal or desired execution of a choreographer's vision.  

I look forward to one day The Australian Ballet performing a triple bill of Wayne McGregor's works. That would be magical and may "Infra" be a part of that program.

This ballet obtained an 8/10 both for choreography and execution.

The printed cast sheet had a font so small, it is was illegible by most trying to read the fine print. Many audience members were laughing at the size of the small print.  The quality of the printing of the nightly cast sheet has deteriorated.

Overall this production obtains a 7/10.

The Homosexuals or Faggots, Griffin Theatre Company, Merlyn Theatre Malthouse, Wednesday March 1st 2017

The Homosexuals or Faggots, Griffin Theatre Company, Merlyn Theatre Malthouse, Wednesday March 1st 2017

"The Homosexuals or Faggots" a production by Griffin Theatre Company was presented at the Merlyn Theatre Malthouse on Wednesday March 1st 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.

"The Homosexuals or Faggots"  is a farce which is a theatrical genre rarely written for the modern stage.  Melbourne is lucky to have two new modern day farces on our stages playing concurrently with "The Play That Goes Wrong".

"The Homosexuals or Faggots"  was directed by Lee Lewis from a script by Declan Greene.  The script is quite funny building on various perspectives of political correctness, free speech and offense.

The dialogue sounded real for the various characters with the different sentence lengths and word choices.  The build up of the situation created tension to ensure the audience was prepared for a farce.
Declan Greene is a playwright to watch develop with his keen ear and sharp wit.

Design by Marg Horwell highlights the minimalist modern apartment in Darlinghurst.  At times it reminded me of "The Book Club" set with the open stage or thrust stage format.  The hidden seat reminds me of many farces and old movies as in "Arsenic and Old Lace".  The red wallpaper on stage right, through the main door, was very amateurish as each character walked past the wallpaper shook.  This reminded me of some sets from "The House of Elliott".

The costumes were fun and inappropriately appropriate for the theme of the show.  The choice of costumes importantly added to the farcical action.

Simon Burke played Warren a photographer with a penchant for risque male models.   Warren reveals his secret desires that underpin through the mayhem.

Warren's husband, Kim is played by Simon Corfield with rapid fired academic dialogue.  Their relationship had the requisite tensions and familiarity of a long term relationship, including fantasies, suspicion and history.  Simon Corfield played the drama queen with aplomb and showed a development of his character.

Simon Burke was at his funniest when lecherous or dreaming of a Jewish circumcised man.  It was his Nirvana.  Vocally, Simon Burke has a rich voice that is easy on the ear.  Physically he was a little cautious, which is understandable as he had an ankle bandaged, possibly from a twist on stage. Genevieve Lemon plays Diana and makes an impressive entrance wearing a Bill Cosby mask.  She uses her body for maximum comic effect in her various guises.  When untying her hairy, this added to the tense build up with honesty and determination.  Her message was pointed and sharp.  Her hair let down was symbolic of her freedom to express her honesty.  This was a great scene.

Drop dead gorgeous Lincoln Younes played the male model Lucacz.  What was more memorable than his body was that he could actually act.  His ability to bring realism to his role with his natural physical attributes and more importantly develop his character was impressive.  Lincoln Younes  showed us what he wanted to achieve and added to the mayhem.

Mama Alto played the dual role of Bae Bae and Pam.  I adored the confusing mispronunciation of Bae Bae as "baby" by various characters.  The repetition of a joke is fundamental to a good farce.  Mama Alto distinguished both of these characters with very deliberate physical and vocal choices.  She accomplished these differences with skill and assurance. Mama Alto also channels  Drew Forsythe from Sydney Theatre Company's  "The Venetian Twins", which had quicker entrances for the dual characters.

The play took about five minutes to build up for me, though other audience members were laughing.

As a modern day farce "The Homosexuals or Faggots" is laboured with the slow pick of cues at times slowing down the action.  There was not enough business by each character showing us what they needed or wanted, for a farce.  There was not enough of door slamming and misadventure.

More could have been played with the sliding door to the bar covering the front door for near misses and potential accidents to keep the audience on their toes.

Staging wise, the sight lines were lost at times with the main front entrance.  We had centrally located  seats and struggled at times to see entrances due to the masking by other actors.

The final moments were thrown away, as some audience members could not see the action of Kim's reaction clearly, due to masking.

Simple physical masking issues should have been resolved much earlier.  I wonder if the director moved around the seating arrangement to obtain different views of the stage.  For once, I think the most extreme side seats would obtain a better overall view of the action.

The final section could be reworked to highlight a more dynamic ending: with the chaos of Pam waking up and how Warren and Kim deal with this.  The ending fizzled out and my partner could barely see the final exit due to masking.  The ending need to smack you in the face rather than have a 1960's sci-fiction movie question mark ending.  This farcical ending was not as strong as other farces that I have seen.

Griffin Theatre Company have presented some great works at the Merlyn Theatre Malthouse with their version of "Holding the Man".  I long to see more work by Griffin Theatre Company  and hope they return more regularly to Melbourne.

"The Homosexuals or Faggots"  is a fun night at the theatre and will be popular with the amateur and community theatre groups.

Yes I gave this a 7/10 but with some work it could be a 9/10 production.