Beautiful, Stephen Sondheim Theater, New York August 8th 2014

Beautiful is so ugly, Stephen Sondheim Theater, New York August 8th 2014

"Beautiful" is so ugly at the Stephen Sondheim Theater, due to the selfish woman in the Mezzanine in either FF9, 10 or 11 who did  not turn her cell phone off and interrupted the most sensitive "sorry" moment in the show.  Cell phones OFF not silent.  OFF.  Spell it you feral sophisticated blonde bimbo!  O.F.F!!  That is O with two F's.  

Other than that ugly moment "Beautiful" was sublime!.

I had audience members thank me at the end of the show for telling her to turn her cell phone OFF.  That is do not turn the cell phone to silent but to OFF, so as not to distract anyone.  That includes no flashing or checking the time with your phone's flash light.

It is about "Respecting This Moment".  "Remembering This Memory".  It is about respect for everyone who has worked. toiled or laboured to buy their tickers.  This includes tourists who have travelled and spent hundreds, or even thousands of dollars from Australian.

Darling "Don't get your knickers in a knot!" she said to me rudely.  Twice she demonstrated how rude she was.  What would Oscar Wilde write? "Once is an accident, twice is carelessness!"

I am sorry about the rant but cell phone "tinia" is so contagious.  Thankfully the ushers were on to it but sadly the ushers are not magicians for those who do not turn them OFF.  Spelt as O.F.F.

I write about the holistic experience of attending the theatre as John Truscott  who won Oscars for his  designs  of "Camelot"  the movie.  He was passionate about the event of attending theatre and I grew up with this tradition.  It is not your lounge room to chat during a show.

I write about the moment of arrival to the moment of departure from a theatre,

I picked up my "Will Call" tickets with ease and no queue and no fuss.

The Stephen Sondheim Theater is another palace with  foyers (lobbies) which allow room to move and better than most Broadway theatres.

When purchasing my "Beautiful" program, I check to see if they have a cd and photo-programme offer. They did and thankfully Lisa informed me that the cd had a damaged cover as they had run out.  I was impressed with that, but did not purchase the packaged deal.  Lisa was very understanding that I did not want to give a damaged cover cd as present and I bought a magnet instead which I think she be a standard $5 for all shows.

I bought the photo-programme and realised when I went to read it that the cast insert was missing.  I went back and asked Lisa about the missing insert and she informed me  they had run out.  I said that the price should have been reduced accordingly and embarrassed a couple near me.  I could not care less as I was sticking up for all theatre goers.  We should have been told it was missing as the product was not complete.  Producers take note!

I was impressed because Lisa knew I was serious and she offered to see if she could get me one from another stall and see her at interval.  I was impressed with Lisa's follow up and got the insert after the show.

At interval my partner told me of an altercation in the front Mezzanine Right AA Row where two women leant so far forward that they blocked the view of the two people in the BB Row.  The people in BB Row left and ironically the two selfish woman in AA Row sat back in their seats for the remainder of the show.

Please do consider and be aware of other patrons when attending the theatre.  It is a palace or a temple and not your lounge room for all to enjoy!

At interval the queue for the toilets was a circuitous route.  The Ruben-esque usher was a sensational Occupational Health and Safety Officer in requesting that people keep to the right and allow space for people to gain access and egress from the toilets.  She also re-assured patrons that the Stephen Sondheim Theater had the largest number of toilets and there would be a short wait.

The funny thing was that we had come from the Mezzanine on one flight of stairs and had to join the queue on the other flight of stairs.

Enough of my rant, the musical "Beautiful" was sublime.

Review:

"Beautiful" has a book by Douglas McGrath that links the magnificent catalogue of songs seamlessly.    There is not one dead spot in the show due to such a strong book with seamless transitions between scenes.  I saw "Dusty The Musical" in Australia and that had a heavy and detailed book with too many dead moments while "Beautiful" was succinct and had the audience humming along.  We had a few lines about some major events but nothing to slow the action.

"Beautiful" has music and lyrics by Gerry Goffin, Carole King, Barry Mann and Cynthia Weil.  "Beautiful" is one of the best "jukebox' musicals I have seen due mainly to the sensational music and the book.

Costume design by Alejo Vietta is naturalistic and supports the atmospheres with his modern period clothing.

Scenic design by Derek McLane is brilliantly realised with the precision sliding in of sets.  The lovely touch was the rotating of the upright piano to establish the location of scenes.  A simple 120 degree turn of the piano transported us to another scene.  The composite set pays tribute to the original designs for "Oliver".  It is the impressive sliding of the main set that really allows us to move    to many locations and give new perspectives to scenes.  The backdrop is really a mixture of props from recording studios etc, which gives such textured character to the sublimely remind us that this work is always about the music.

Lighting design by Peter Kaczorowski is the best lighting I have seen in show for a while as it was supportive and unobtrusive.  The range of colours created various moods and also assisted in created atmospheres.

Sound design by Brian Ronan gave us a mix of sound qualities to define location and atmosphere.

Choreography by Josh Prince provided opportunities for The Shirelles and The Drifters to show their moves and grooves.

The master is the director, Marc Bruni who brought all of the creative team and cast together as the perfect project manager.  Such a perfectly balanced night at the theatre for providing us an emotional journey of growth, success, disappointments and maturity.  Sheer perfection!

The finale to Act One is brilliantly staged where we have two triangles of The Shirelles upstage and the Janelle was the head of the downstage triangle with Carole and  Gerry.  These two triangles pulsated in subliminal sexual tension back and forth, then as the dynamics were changing the triangles became more accute.  A magnificent piece of choreography and staging to provide us with the obligatory tension at the end of Act One.

The cast of "Beautiful" are superb.  Thankfully we had seen "Baby Its You" that featured The Shirelles and it was great to see them featured, again, here in "Beautiful."  The rich bass baritone from The Righteous Brothers was devine when the duo sang "You've Got That Lovin' Feeling"

The cast had the audience in the palm of their hands as they audience sighed with personal connection to their memories of each song or were given jolts of surprised recognition when they
could not make certain connections.  The book provided us with so many wonderful ways to emotionally transported.

Jessie Mueller as Carole King, is the undeniable Tony Award winner for Best Performance by an Actress in a Leading Role in a Musical for "Beautiful."   Her skill as an actress, pianist and singer transports us to believing that we are watching Carole King growing up in front of us.  Her voice is majestic as she channels Carole King.  Pure bliss!  Sheer perfection.

Jake Epstein played Gerry Goffin with measured emotional sincerity.  He has a quality that sparked electrical currents of tension with Carole King.  His roller coaster connection with Jessie Mueller's Carole King had us empathising with her journey.

Anika Larsen played Cynthia Weil with finesse.  He voice was so melodic and rich.  Playing opposite Jarrod Spector s Barry Mann provided us with some comic relief and some competition for Gerry and Carole.  Together they sang with rich warmth and charm.

The supporting ensemble worked seamlessly to provide us an array of characters from Carole's life.  They sang with great harmonies and assured moves.

The farewell and the use of "You've Got a Friend" was sheer perfection.  I had tears rolling down my face as this was not a goodbye but a re-assurance of their enduring friendships.

Such a perfect night at the theater except the Gerry apology was interrupted by the two loud cell phone messages received noises.  Who's sorry now?

Thank you to the cast and creative team for such a sensational night at the theatre.

"Beautiful" is such a perfect night of musical theatre.  It is devine.

An interesting aside:

I spoke to a few of the cast after the show to tell them about how "You've Got a Friend" was used for about ten years in the late 1960s to the 1970s as the theme song for the Melbourne S.E.C. (State Electricity Commission) as it provided that re-assurance for your energy supplies.  Jarrod Spector laughed and said that is funny as the S.E.C. in the USA is the Securities Exchange Commission!

Their faces lit up as I told them about the Australian connection.

The other Australian connection is that "Locomotion" was the song that escalated Kylie Minogue's fame.

Violet, American Airlines Theater, New York Wednesday August 6th 2014

Violet, American Airlines Theater, New York Wednesday August 6th 2014

Forgive if there any errors or please contact me re errors.  Thank you.

For those new to my blog I write about the holistic experience of attending the theatre.

This is the first time seeing a show at the 700 seat American Airlines Theater.  What a treat to see Sutton Foster in such a pivotal role as "Violet" by the Roundabout Theatre Company in the perfectly size theatre for this musical to create intimacy and allow us to journey with Violet.

We have been blessed to see "Death Takes a Holiday"by the Roundabout Theatre Company and what a treat to see another of their productions.

"Violet"is based upon Doris Betts's "The Ugliest Pilgrim" which  has music by Jeanine Tesori and Book and Lyrics by Brian Crowley.  It is like the Hans Christian Anderson story  "The Ugly Duckling" does a religious revivalist meeting.  I received the "Violet"  CD a few weeks before departure and loved its message instantly.  I was grateful that we had taken the risk to book this show in advance.

"Violet"  is directed with simple precision by Leigh Silverman and intersperses the back story of the young Violet's accident in bite sized segments to give dramatic impact to the adult Violet's life story.  It is a musical with a deep message that touches some people so much that they have quivering or life-forgiving releases of tension.  It is like a song of forgiveness.  For example, the life-long  memories of enduring of school yard bullying or a violent family home.

"Violet" the musical sings of hope, respect, dignity, self belief, character building, confidence, assurance, dreams and broken dreams, promises and broken promises,  To me it is also about the way religion can rape our soul by their promises of deliverance.  It is your choice to make your own changes.

"Water in the Well" sets the scene with the  young and adult versions of Violet played by Emerson Steel and Sutton Foster.  This sets the tone for the show and you know that both characters are gong to tell the story.  Both work together like Siamese twins to create Violet's full character.

"Violet" is about a young girl who was accidentally axed by her father and disfigured twelve years earlier.

The whole show is like a confessional and we are witnessing the psychological back story in stages.  These are told through the young and adult Violet giving us insight into her feelings, motives and desires.

"Surprised" sung with passion by Violet has us in the palm of Sutton Foster's hand.

"On My Way" has Violet travelling to meet up with her preacher of hope who can cure her disfigurement and make her beautiful like Ava Gardner.  Sutton Foster sings this with naivety, hope and innocence.

There is simple staging that mainly uses chairs and tables for the bus and cafes.  The set design is by David Zinn  is effective and has a used worn blue paint that ages the set and adds to the atmospheres of the various locations. The bed slides in and out from under the band's stage.  A preacher stand also rolls out for this minimalist set.

The lighting by Mark Barton is very good. His green neon sign "Vacancy" gives so much context to the location.  The rich red lighting for the chapel scene and other spots to create atmospheres specific to their location.

The various neon signs gave us a sense of period and locations.  The slow build of light for the healing of Violet made Sutton Foster glow, shine and radiate and assist in her transformation. Perfectly simple devices.  She was in a halo of charismatic light.

Talking to other people who had seen "Violet", many of the older audience got confused about the young and old Violet.  Some missed the point and asked why they had the two Violets.

I suggest a different glow of light for the young Violet to reduce the age and memory/back story of young Violet confusion.  A simple lighting change could have highlighted the suggestion of the "ghostly memory of youth."  For example, when Violet makes peace and lets go of her younger self, the young Violet could  exit in a tunnel of light that fades or another similar change to distinguish this releasing moment.

The direction by Leigh Silverman provides a varying pace and moving story that lifts our soul in joy with the majesty of this work.  I particularly enjoyed the relationships developed between Violet and  Flick, Monty, her father and her young self.  There was the constant triangle of Violet with her father and younger self, or the triangle with Flick and Monty.  The two triangles create the square of balance for the show.  The old memories and the new memories fit nicely into her luggage - her box! The luggage is a symbol of our life and the baggage that we carry around with us.

"Luck of the Draw" we see a 20 minute bus stop and Violet plays cards and we see how she learnt to play cards to improve her mathematical skills as a child.  The timing of the hand movements between the young and adult Violet would at times correspond in unison and at other times suggest this unity.  There was a canon effect that would merge together like in a Dalcroze eurythmics exercise of "Unity of Time."

"Questions 'n Answer" between Violet and Monty played by Colin Donnell with his handsome features and his harmonically rich and melodic voice provide level of tension to her journey.

"You choose your own way" says Flick and it is as if we can only heal ourselves with one step at a time.  Flick is like the sage to Violet, even though she treats him with politically incorrect behaviour but tolerated behaviour at that time.   This makes us laugh with politically incorrect recognition. Flick shows his strength through this.  "You gotta do what you gotta do" he tells Violet.  Such an inspirational line and  more so by the sincerity of Joshua Henry,.

"All to Pieces" is a trio with Flick played sensationally by Joshua Henry,  with Monty and Violet.  Joshua Henry. has a charismatic presence and beautifully rich voice.

"Let it Sing" by Flick brought the house down with his full voice and compassionate performance
 by Joshua Henry.  The lights build to create a visual climax and support this fine performance.

"Anyone Would Do" by the Hotel Hooker shows the loneliness of life on the road and how people need people and it also shows how people treat others as disposable tissues. Annie Golden as the Hotel Hooker gave us the torch song of desperation.

"Last Time I Came to Memphis" by Monty starts with quite a discordant sound and adds to the edgy sleazy nature of his advances to Violet.

"Lonely Stranger"  by the Music Hall Singer played Anastacia McCleskey gives us another perspective of loneliness and hope that allows us time to ponder Violet's dreams.  She is fine actor who transforms into the various roles with Michael Chekhov "lightness and ease."

"Lay Down Your Head" is the post coital song that Violet sings to herself as Monty sleeps after his sexual "little death."  We also have the young Violet showing us her first sexual encounter and this counterpointing highlights the disposability of a sexual one night stand.  It reminds me of th e poignant "Where Is Love" from Lionel Bart's "Oliver" to gently tell us about hope.

The reprise of "Anyone Would Do" by the Hotel Hooker, Almeta, and the Music Hall Singer emphasises that everyone is after acceptance in a way that satisfies them, whether it is financial, career or love.  Or simply they want the acceptance or recognition that the individual exists! The triangular shape sublimely suggests the dilemma that will face Violet.

"Hard to Say Goodbye" between Flick and Violet develops Flick's care for Violet.  This is a song with such deep emotion it stirs you up with our own memories of saying goodbye.

"Promise Me, Violet"  a trio of Violet, Flick and Monty is a song of promises, potential broken promises, faith, building trust, and deception.  It is also counter-pointed as a song of hope and love.

"Raise Me Up" reminded me of the cliched moments from "Memphis" and "Sister Act" with the obligatory reveal of the stained glass windows and the chapel red robes.  This is the only time the back curtain is used and is appropriate as the curtain opens it signifies the gateway to Violet's  acceptance of self.   I thought this scene could have been shortened as it made its point quickly.  Gorgeous harmonies and a beautiful solo singer by Rema Webb as Lula Buffington.

A line "Nobody talks to the preacher without talking to me first" is a line by your classic gate keeper.  An emphatic "Anybody!"  provides a pause and silence from the audience.  The silence showed us our recognition of the hypocrisy of these conmen.  It highlights what we have control over.  This links into the work of Martin Seligman "What You Can Change and What You Can't."  One line or one word speaks volumes so succinctly.

"Down the Mountain" gave us the background information about the axing accident of Violet.  It is played with sincerity and interweaving of memory of simultaneous and overlapping dialogue which heightens the emotional journey towards reconciliation with herself.

As some audience members got confused between the young and old Violet,  I feel that the lighting could have distinguished between them both. The memory of self of the young Violet compared to the Violet of the present time.  Sharpening the dialogue with elaboration would make this clearer.  "Heathers The Musical" made the difference clearer by using the body posture of the dead Heather and her physical relationship to Veronica and with a subtle light glow.

There is a scene where Violet takes over the pulpit to assert herself and her dreams and desires.  She is learning to accept herself and is going through the emotional connection to begin the letting-go process.   The young Violet walks backwards offstage to signify the adult Violet is letting go of her pain and hurt.  A beautiful moment.  (Though the lighting could have created more impact at this important moment.)

"Look at Me" was a brilliant solo for Violet sung by Sutton Foster trying to get her father to look at her disfigured self.  If she could not get her father to look at her then how could she face life let alone look into the mirror each day.

My partner thought the band on stage was distracting as you only need to hear them.  I disagreed as it gave it the feel for the era and the various locations of the bus stops and bar scenes.

"That's What I Could Do" by Violet's father played skilfully with paternal detachment by Alexander Gemignani that had many tears rolling down many faces in the audience.   This is a brilliantly honest emotional solo.  Their cold familial relationship and the pain allowed many in the audience to feel some peace at Violet's journey.  Thank you Alexander Gemignani for assisting many to let go of some pain.

"Promise Me Violet" (reprise) by Flick and Violet is a song of hope and love.

"Bring Me to Light" provides us with the final images of each character carrying their luggage lightly - as if they are releasing their own emotional baggage from their lives.  It is a revelation that only we, alone, can change ourselves.  That is why this is such a masterful work of healing for many people.

"Violet" shows us the good and evil aspects of life: the spin of religious conmen, the fraility of
human relationships, our belief systems, father and daughter relationship, our childhood memories, independence, trust, faith, hope and the manipulation of  all of these.

"Violet" is a great companion piece to the musicals "Heathers The Musical" and "Beautiful."  Sutton Foster is sublime in a role that stretches her as an actress and us as an audience, it is like we are travelling on her transformational journey on Broadway too.

"Violet" is about so many aspects of human nature that it moved some people to tears with recognition of their own journey.  With the letting go and acceptance of Violet's self we appreciate more about the beauty of life. It is about gratitude.  As Martin Seligman suggests gratitude brings happiness.  It is about growth, and,  thank you Roundabout Theater for growing our perspective with this beautifully written and composed musical.

The American Airlines Theater staff of ushers and crew all need to be congratulated for their vigilance in respecting that attending the theatre is an occasion and can be expensive.  They show respect by trying to ensure that everyone's attendance is not disrupted by annoying phones beeping or flashing to check the time!

Off means off!  Not silent.  Off with cell phones please!

American Airlines Theatre are role models as they have a very strict rule of NO PHONES FULL STOP.  Cheers!  Tears of joy for this needs to be the standard AT ALL BROADWAY THEATRES.

Thank you American Airlines Theater and also St James Theater as you both win my "respect this moment" or "respect this memory" award!

A friend of mine from New York was sitting in the Orchestra at this same performance.  She told me about one young lady in the audience who was openly crying, not tears rolling down her face, but convulsively weeping and as a result was being assisted in being healed by Violet.

August 8th 2014 (Our 6th anniversary of our first trip to NYC!)

Thank you to Roundabout Theater and to the producers of "Violet" for bringing it to Broadway.

This production receives 8 /10.

Heathers The Musical New World Stages, Off Broadway August 1 2014

Heathers The Musical. New World Stages, Off Broadway  August 1 2014

Draft version  I am still writing this Aug 4th 2014

Principals:

Veronica: Charissa Hogeland

JD: Dave Thomas Brown

Heather Chandler: Jessica Keenan Wynn

Heather Duke: Kristolyn Lloyd

Heather McNamara: Elle McNamara

Martha: Katie Ladner

Kurt: Daniel Domenech

Ram: Jon Eidson

Principal/Ram's Dad/Big Bud Dean: Daniel Cooney

Coach/Kurt's Dad/Veronica's Dad: Dustin Sullivan

Ms Fleming/Veronica's Mom: Molly Hager

"Heathers The Musical" is sheer bliss.  Palpable drama that touched my heart and will be remembered as a musical theatre event to change history.

That may seem a big statement to make but I could barely fault this show.  What struck me was that it spoke to many generations but most importantly to young people, especially young teenagers.  To watch these teenagers understand the depth of the messages makes me proud to see that this adaptation of the film to a musical speaks volumes about humanity.

I think "Heathers the Musical"  has legs.  Well spider legs.  Eight legs or even octopus tentacles with its potential impact on young people.  Its messages ring loud and clear through the violence and schlock stylised drama.

I remember clearly the impact that "The Rocky Horror Show" had on me when I was a teenager.  I have the same feeling for "Heathers" as it reaches a similar demographic but more.  It is like "Grease" blended with "The Rocky Horror Show" to reach both audiences, though "Heathers The Musical" has a much more resounding impact on humanity.

I have never seen the film and bought it as it reminds me of "Once" which translates and becomes even a better musical than a movie.  So I am eager to see how the film compares to "Heathers The Musical"  written by Daniel Waters.    The musical has a book, music and lyrics by Kevin Murphy and Laurence O'Keefe  is superbly coherent and does not have holes like some bigger known musicals. They create a driving force to move the story forward and allow dynamic shifts in character development   and also balance the comedy with the dramatic and serious messages of this musical.

"Heathers The Musical" appears on the surface to be a teenage angst musical, as it is set when the teenagers are pubescent and around 17 years of age.  Obvious rivalries and hierarchies are evident in schools.  Is this any different to the outside world.   The three Heathers remind me of the perceived bullying of the large corporations, banks and lobby groups.  They too can be intolerant.  I am intolerant of intolerance!

"Heathers The Musical" has larger than life characters that we can still relate to.  There are so many  archetypes.  We have the college thugs and the dorky nerds and the fat supposedly ugly girl and the "Gorgeous at all times" girls!  

Direction is by Andy Fickman and is sublime.  I enjoy theatre as I can look where I want rather than what the director wants me to see with a film.  Andy Fickman delivers in ensuring our focus is zoomed to the important moments.  I watch those moments but also make sure I see what is happening in the complete opposite direction.  This was pure bliss to see the direction and detail of the ensemble created real "Michael Chekhov" atmospheres in 95% of scenes when ALL actors were focused. The atmospheres, on a couple of occasions, were lost when an actor lost concentration and allowed their attention to shift off stage or into the audience.

Andy's direction was so detailed and touched the emotional heart and pulled us emotionally on a roller coaster journey with Veronica Sawyer played by Charissa Hogeland and the three Heathers.  The focus of the ensemble with their characterisations was near faultless.  On three occasions I saw a cast member slip out of character to check out the audience of whisper to someone off stage in the upstage right hand corner! ( I shall be nameless!)   One male actor regained focus when he caught my eye.  Creating an atmosphere requires the entire ensemble, you are not just extras in the background.  We as an audience can sense the connection to the other actors.

Choreography by Marguerite Derricks is effective and so appropriate for this show without being too refined.  I loved the "Queen" "Bohemian Rhapsody" moment in Act Two, where the ensemble created a triangle behind the main singer during the song.  Their head movements were also reminiscent of ABBA's "Mama Mia" song.  Marguerite uses clever, inventive choreography constructed with sheer simplicity to emphasise the drama and comedy.  I was laughing so much at times that I want to see it again to remember the exact song and savour some moments again.

The entrance of the three Heathers Heather Chandler: Jessica Keenan Wynn, black Heather Duke: Kristolyn Lloyd and petite Heather McNamara: Elle McNamara was stylish, elegant and evil.  The three Heathers are led with such assurance and confidence by Jessica Keenan Wynn.  She is superb in maintaining her demeanour even during her ghostly scenes.

Fight direction by Rick Sordlet and Christian Kelly-Sordelet is also sublime, especially the slow motion fight sequence in "Fight For Me".  Slow motion seems to be such a cliche but here they take it up a few notches with such controlled slow motion facial expressions that co-ordinate with the moves. Not only funny at times but so clever and I am in awe at the skill of the actors to be true to the  emotional context of the angry fight.

The two college hunk, thugs, bullies Kurt (Daniel Domenech) and Ram (Jon Eidson) were a great team.  One the dumb supposedly handsome dude and the other the curly haired sycophant.  I loved their easy pace, energy and their levels of radiation.  

The ensemble all held freezes for an extended time and some actors were in very difficult positions.  (Martha Graham would have been proud at the off centre balances!)  Some of the classic positions was The occluded jaw of the Heather Duke  played by Kristolyn Lloyd was held with such unwavering intensity and honoured the shock of the situation.

There is a moment when a few of us clapped in the audience and it is where Veronica stands up to the others.  She consequently isolates herself.  Veronica shows strength, courage and leadership.  This to me is the essence of the message - to stand up for what you believe in.  ( I hope the young lady behind me got the message of this show.  She was so rude when I asked her politely to turn off her cell phone)

The music is superb.  When I received my "Heathers The Musical" CD in the mail about early July 2014 I played it three times straight away without a break. I was instantly hooked and my partner advises me if he likes tthe opening song or not.  We just had to see it and thankfully our timing work out so.

"Heathers The Musical" speaks volumes to many generations: those going through these teenage years and those who either have fond memories or wish to forget those times.  For those who want to forget these years it bring s out more humanity as it speaks to us as well.  If you are fat, or not tanned, or not muscular, or geeky, or homosexual or questioning your self etc.  This musical score and lyrics touches the soul and hearts of all of us and gets us to reflect upon our impact on the world.

This musical is about diversity and stuff these selfish "Selfie" moments'.  This musical is about humanity and what we can all do to make a difference.  It is the "WEESIE" musical.  (Think a selfie with more than one person!)  We were there when this musical made a difference and affected so many young people.  I met three young teenagers who have seen this show between three and five times!  

Producers take note that this musical requires an intimate theatre to enhance that connection to physically reach out to audiences.  This show needs to be picked up by so many cities and tour with a few companies to get the message out their quickly.  Forget doing just one big version on Broadway.  Spread the love!  Make a difference.  Think "Jumpstart the World" by Catherine Ryan Hyde.

The souvenir/concessions stand could do with displaying the price list.

The Cloak Room could do what "The Lyric Theatre" in Sydney does is write customer's name and phone number on their cloak receipt in the case of forgotten items going to the Lost and Found department.  New World Theatres could lead the way in this regard and take the holistic theatre experience to a higher lever.

Singing was superb with only a few bung notes during the whole night.  So impressed at the quality and texture of the voices and also the harmonies.

Simple and effective staging and superb lighting that resonated the various atmospheres of various locations.  The building of the lights for each scene changed with the warmth of the colours and the areas lit created defined spaces.  This lighting plot by Jason Lyons is one of the most visually emotionally attached to a production I have seen in years.  Jason creates moods and defines our attention to the requisite area for our complete focus.

I watched the various lighting changes and there was a lot of thought to create moods and context for each scence.  Sheer brilliance.

I loved the very stark and simple set.  It reminded me of Sydney Theatre Company's version of "Falsettos" directed by Wayne Harrison.

The ensemble roles for the Principal/Ram's Dad/Big Bud Dean were played with differentiating skill by  Daniel Cooney.  The Coach/Kurt's Dad/Veronica's Dad: Dustin Sullivan.  I watched you both to determine identify how each of  your character's centres would change.

J.D played by Dave Thomas Brown is mesmerising as a performer.  His performance had a sincerity and truth that was palpable.  His connection to Veronica played by Charissa Hogeland was electric, gas and water mains pressure.  Think all of the public utilities as they embraced their connection with dedication and focus.

Dave Thomas Brown looks like Johnny Depp and his handsome features melted many young ladies heart.  He played his role with so many levels and textures that enveloped his character.  I am in awe at his emotional connection that radiated like a beacon.

His characterisation was truthful and honest with human frailties. I was watching his performance until I was immersed by his character.  I could not see him acting.  He was this person.  He radiated with such energy and composure. He allowed us into his world by this fine actor's qualities and imagination to transport us.  I am in awe at his skill.

My heighest emotional response is like deja-vu or astral-travelling and few shows have taken me there.  But some have and that is my greatest acknowledgement.  Sometimes a performer can take me to this space, or their reality due to their performance but this accolade is rarely given by me.

In this case it was the connection between Dave Thomas Brown and  Charissa Hogeland that created goosebumps but had me flying in my emotional element.  I emphasise I do not see this incredible connection often and it was pure bliss.

The car / gang rape scene was written with such biting disposable accuracy.  Poignant and sadness underlay the humour.

The sword fighting sequence was choreographed so well and honoured Errol Flynn and other pirate movies mixed with the "Tea bagging incident" from "Big Brother" Australia.  The audience werein stitches   and the choreography then educated the audience by demonstrating a "spit roast" for those audience members who did not understand this new version of sword fighting.

The theatre is a perfect size as this show suits a more intimate venue for immediate connection to the audience. It is perfect vehicle for The Comedy Theatre in Melbourne!

"Shine a light" used the torches effectively.  The teacher, Ms Fleming played by Molly Hager with the right amount of spiritual care.  She also played Veronica's mother and clearly differentiated the two characters.

When Ms Fleming shone the light on the front row victim who was rejected.  It was a great 15 seconds of fame and a great example of a Dame Edna  moment of embarrassment.   I think it also sent up reality tv shows like "Big Brother" because of the instant connection with the audience.  You do not necessarily get that sort of cringe factor by watching tv.  Most people in the audience would be relieved it was not them in this moment.

Martha played by Katie Ladner sang the "Kindergarten Boyfriend" with honesty and sincerity.  She touched our hearts and allowed us to remember our first childhood love.  She also allowed the larger young lady to have self respect and I spoke to a other audience members and was heartened at the positive  impact of Martha's character and song.  She showed us what beauty is.  Not in a cliched manner but with truth.

The finale "Seventeen" is such a poignant song so rich in truth and maturity.  I think we will all remember what it was like to be 17.  Charissa sang this with such pure honesty that it reached out and cut into my heart that tears rolled down my face.  Let us enjoy the moment together!  Let us be!  It was like a meditation.

"Heathers The Musical" is a musical about hope, love, acceptance, diversity, respect, bullying and suicide.  I have never seen a musical that speaks loudly to not only young people but all of humanity with such dignity and honour.  It is not patronising.  It is a must see and sadly I do not have time to see it again.

Producers around the world should snap up this production and tour it simultaneously to spread the magical world.

I also cannot wait to see it again.  As well as the filmed version of this show.  It has an instant audience and I can see young girls and drag queens dressing like the three Heathers to attend screenings.   Is is sheer brilliance.

Principal:

Veronica: Charissa Hogeland

JD: Dave Thomas Brown

Heather Chandler: Jessica Keenan Wynn

Heather Duke: Kristolyn Lloyd

Heather McNamara: Elle McNamara

Martha: Katie Ladner

Kurt: Daniel Domenech

Ram: Jon Eidson

Principal/Ram's Dad/Big Bud Dean: Daniel Cooney

Coach/Kurt's Dad/Veronica's Dad: Dustin Sullivan
Ms Fleming/Veronica's Mom: Molly Hager

Motown - Lunt Fontanne Theater, Broadway July 31st 2014

Motown -Lunt Fontanne Theater,  Broadway  Thursday July 31st 2014

"Motown" the musical is a classical juke box musical that celebrates the history of  Motown Records and the stars that were developed, rejected and fostered through this iconic Record Company.

It was a fun night at the theatre and had many hit songs to create the journey of the "Motown Records."  The staging is simple and very effective that creates a visual treat by using curtains and tabs to adjust the size of the viewing area.

Our focus is admirably directed on most occasions to the Charles Randolph-Wright.  He has directed a fairly tight show that has about five transitions that slow down the action by only a few seconds each time.  But in this "Me"Generation of "Selfies" that few seconds takes away from a few masturbatory swipes of your phone to check your latest message.  With a little picking up on queues and entrances this would alleviate these holes.  I was watching the audience during these few seconds and they were chaffing at the bit for the show to move forward.

Most of the lighting was brilliant to create a sense of space and time.  Though a few transitions seemed not to flow as smoothly as I would have liked.  For example one entrance of Mary Wells stage right could have been lit more effectively to make this a  more magical moment.  She seemed to walk into a dead space and then the lights came on.

I love seeing a show after is has been run in to really test to see if it is giving the public value.  Yes this show does gives exceptional bang for your buck with enthusiasm, entertainment and a history.  My partner and myself both gave it 7.5/10 and our friend was amazed that we both said this rating simultaneously without consultation.

The sets were amazingly simple and very effective.  The sets moved with precision and no hiccups. They were mainly consisting of curtains or pillars on tracks to create various size picture frames.  I loved how the director shifted our focus smoothly from left to right to allow for changes and keep the story moving forward.

Most of the singing was good.  Though three ensemble numbers had some very rough, flat harmonies. You could tell that some of the cast were trying to maintain their pitch true to the orchestral arrangement.

Choreographically "Motown" honoured the era.  Patricia Wiclcox and Warren Adams brought to life many of the dance styles of the era.  The choreography and staging also recreated some iconic musically historical moments with signature accuracy to take us back to those times.

The video montages of JFK,  Martin Luther King, Vietnam War etc brought back many memories from my childhood. This musical honoured these major events in a succinct manner and assisted in recreating the era and moving the story forward in an honest and non-didactic way.

Costumes by Esosa were brilliantly realised and captured the key moments in "Motown's" history.
The lavish costumes for the women would make any drag queen envious.  The large red cape for Diana Ross was superb.  I think I was more impressed with the logistical onstage dressing and teamwork and the instant reveal of this red cape falling into place than the actual cape.  I still revel in the magnificent timing to surprise us with this costume change.

Hair and wigs by Charles G. LaPointe reflected the era well.  hough a few of the wigs could have been closely fitted in some of the costume changes.  Seeing the hairline on two characters shows how tight some costume changes can be.

I loved Marvin Gaye played by Bryan Terrell Clark for his strength and passion for his vision.  Diana Ross played by Krystal Joy-Brown recreated iconic moments in history with predicable realism but more importantly with purity of voice and spirit.  Berry Gordy was played with courage and honesty by Josh Tower.  He was focused and determined and lost insight of his relationships.

I guess acquiring the rights to some of the Motown catalogue of songs may have been a challenge as some important and memorable songs were not featured or even mentioned.  My eldest brother introduced me to so many of these performers and it was a revelation for white people from down under.  But Australians are very accepting and adored the Motown label.  Some songs missing influenced and compromises the book. as it seems bit stilted at times rather than flowing.

I did enjoy the show and my partner felt that there were major songs which seem to be missing as was the way with "The Adventures of Priscilla Queen of the Desert" that could not use the ABBA material.  (Though that film really cemented ABBA into stone with the use of their music in the film.  I guess it allowed them to create "Mama Mia" the musical.)

Overall I would recommend the show but for the price I think it is a bit steep at $105 a ticket.  It is worth about $60 - $80 to see as it has been running a while now.

Brigadoon Goodman Theatre Chicago July 25 2014

Brigadoon - Goodman Theatre Chicago  Friday July 25 2014

Goodman Theatre Chicago

This newly revised version of "Brigadoon" by the Goodman Theater of Chicago with direction and choreography by Rachel Rockwell has more magnificent moments than misses.  With some fine tuning this will be a brilliant production with a revised and more logical book by Brian Hill.

Pre show welcome:

Firstly, theatre is an event and the Goodman Theater of Chicago does this in style.  Their theatre is a testament to the legacy of the Great Chicago Fire 1871 and the rebuilding of Chicago.  The foyers (translation "Lobbies") are spacious and welcoming.  This is more appealing than the queuing up on the streets of New York. I presume the weather had a major influence in the design of the large foyers  to encourage people to take comfort from the cold winters.

Secondly, the theatre itself has a lovely rich acoustic sound for musicals.  The views from the seats appear without any obstructions.  The stage is wide and the seats do not pass by the sides to restrict viewing - unlike other theatres.

Thirdly, the pricing of tickets is very reasonable and with sensational views of the whole stage!  Not like some theatres where you get either an impeded view or a restricted view of the up-stage corners. If you cannot see into either of the upper back stage areas then ticket prices should be reduced to at least B or C Reserve!

Fourthly, the souvenir and book stand has very reasonable prices.  Do take the opportunity to stock up on those magnets for souvenirs for your friends, family and self.  Because of this I purchased more, unlike other venues where you may not even buy a single item.  Think of the Getty Museum in LA that has a similar pricing policy to encourage further purchases.

Then there is the performance and finally the foyers again to allow you to mingle and savour your experience.  John Truscott had a similar vision when he designed the interiors of the Arts Centre Melbourne to create this holistic experience.  (Interestingly John Truscott won two Oscars for "Camelot" which is also by Lerner and Lowe.)

I normally do not focus on the above so much and feel it requires acknowledgement for creating such a fantastic experience in theatre attendance.

Pre show talk:

I was fortunate to be able to attend a pre show talk on Friday July 25th by the dramaturge Neena Arndt.  She gave a comprehensive talk about the history of "Brigadoon" and contextualised the reasons for the original impetus for writing and for these revised changes.  Neena also explained the old versus new version changes without giving the story away.  She skilfully answered my questions, as I was not going to miss the opportunity to share this experience with friends from Australia who had been in the original cast.

Background information:

For those who have not read my reviews before I do not retell the story.

"Brigadoon" is a classical musical in my eyes.  I have always adored it and was not disappointed.  I have seen it at least twice and the film at least a dozen times.  To give context to my comments I have seen a version with a cast of about 40 plus in 1969 by Cheltenham Light Opera Company (now CLOC) and another superb  version by Whitehorse Musical Theatre in 1995.

Review:

"Brigadoon" was a fore-runner and may finally receive its recognition for it paved the way for other musicals with a theme of choice, think "If/Then" or the movie "Sliding Doors'.

The era when "Brigadoon" was written was after World War Two and people needed entertainment and hope.  This musical provided both with a very serious message about how choices can determine our destiny.  Whether these choices are personal, a clan or a country's choices.  This revised version is timely in these times that I call the "Thawing War".  The "Cold War" should be renamed the "Frozen War" and we have just had various temperatures in between.  "Brigadoon" is an idealised heaven for some and hell for the character Harry.

"Brigadoon" also paved the way for "West Side Story" with the song of hope "Somewhere."  People need hope and a dream and something to aspire to or for.

Consider too the era post World War Two: when soldiers returned with no counselling and to be told "to just get on with it."  This historical context makes sense with Tommy Albright's behaviour, played by Kevin Early.  He has an exquisitely rich baritone voice, and is classically handsome for this role.  Though more on him later.

The opening is a scene of the Scottish hills behind a curtain of "vertical strands" curtain. I think these are called "Ball French Curtains" and look like a glamorous fly screen.  This curtain will be used effectively throughout the show to change the mood and location.

Tommy Albright played by Kevin Earley and Jeff Douglas played Rod Thomas.  They are lost and use a simple set to establish the mood of the musical in this prologue.  Tommy appears to be more passive agressive and mentally unsettled than in other productions.  This makes sense as he has returned from the war.

The setting is made up of a hessian silohuette in triangular shapes to cleverly create the highlands of Scotland.  I then realised that it was not a backdrop but this clever image that was peeking through the curtains to welcome us into the theatre.  The designs are very minimalist and remind me of the effective minimalism of Lincoln Centre's "South Pacific".

The musical improves dramatically and it is the ensemble opening that I think needs the some fine tuning.

The first ensemble number "Brigadoon" is beautiful choral and melodic.   We hear them but do not see them.

This opening sequence "Vendor Calls/Down in MacConnachy Square" fitted the bill but looked empty.  It either needs an extra four to six people to fill the space, or more movement or some more of the hessian scenery to create the silhouettes of triangular roofs of houses etc.  I thought there was too much empty space and it was too flat to create the impression of the hills.  Maybe they could use members of the orchestra as they do in later sections to fill the space.

 I loved the Scottish accents in the singing though these could be consistent maintained by some actors throughout the entire duration of the show.

The lighting of this sequence was too much a blanket of light and highlighted the voids of space.  There needed to be some light and shade to create more atmosphere of a mythical Scottish highland village.

The actors need to be really engaged in the activity at the market stalls.  It seemed a bit twee at times with their relationships and encounters with customers or neighbours.  There needed to be a real connection to heighten the atmosphere.

The costumes immediately stood out as too perfect for the 1746 era.  There needed to be a bit of wear for the market holders and the customers.  The costumes are beautifully made but look too nice.  They need to be more lived in to show the differences between the types of characters.

"Waiting for My Dearie" showcases the magnificent and pure voice of Jennie Sophia who embraces the role of Fiona MacLaren.  It is great to see the ensemble of ladies creating an feminine and genteel   atmosphere of anticipation.

"I'll Go Home with Bonnie Jean"  highlighted Charlie Dalrymple played by Jordan Brown's skill as a triple threat. He has a lovely voice and a charismatic charm for this role. He is excited as he is to be married and shares his enthusiasm with the local villagers.  There is a robust and buoyant atmosphere created here by the ensemble.

"The Heather on the Hill"  is the first duet between Tommy and Fiona.  The singing is harmonic and beautiful.  Though I feel that more space and pauses to elongate their moves between their relationship will build requisite tension. At times it seemed too rushed for Fiona to get away from Tommy.  We did not have time to really revel in their developing relationship..  It was not 1946 but 2014 Facebook "check a message and run scenario."

The iconic moment of their realisation of mutual affection is the basket sequence when they both hold the basket down stage right.  This reminded me of John Cranko's famous heart shape love pose from "Romeo and Juliet" premiered by Stuggart Ballet.  I would love to know if this was choreographed intentionally to pay homage to John Cranko or was it a pure accident?

The singing by Tommy of this famous song started too loud for my liking.  I think it should have been more cautiously approached by Tommy as it was 1946 in his time.  The opening lyrics explain why it should be more a question than a demand.

"Love of My Life" focuses on the lusty Meg Brockie.  If you had waited for a hundred years, I guess you too may be a bit frisky.  Meg was played with sheer bounce, verve and lust by Maggie Portman.  Very eager and assertive in her attentions to Jeff Douglas played by Rod Thomas.  The pair work together to create a fun number than drives their story forward.  I would have liked to see more lighting to differentiate the location of space inside and outside.  Both have consistent accents and are self assured in their characterisations.

"Jeannie's Packing Up" is the ladies ensemble number that has a lovely feminine ritualistic atmosphere.  The cast of ladies support the bride to be -Jean MacLaren played with confidence by Olivia Renteria.  Her solo with the bridal veil is magnificently pure and poignant and the choreography pays homage to Agnes De Mille.

"Come to Me, Bend to Me" sung by Charlie Dalrymple is beautifully realised by Jordan Brown. The pas de deux where Jean covers his eyes is romantically appropriate and again drives the story forward without being a "filler" dance.

Fiona's father, Andrew MacLaren played by Craig Spidle tries to oversee the farewell between Fiona and Tommy. He plays his paternal role with Scottish assurance and confidence and great timing.

The farewell kiss is seen by Jean and where she stands does not look realistic from an audience's perspective.  She needs to be in the appropriate line of vision rather than a "cheated cinematic mark" position.  I did not believe that she could see the kiss from that angle.  A minor adjustment will correct this important moment.

"Almost Like Being in Love" was beautifully sang and was at the right level.  Though it would have seemed more impressive had "Heather in the Hill" been restrained a little more.

"The Entrance of the Clans" is a memorable moment that I will savour for many years to come.  This neatly choreographed section includes two bagpipe players.  Apparently this is the first time this has happened in the USA.  We were fortunate to have bagpipe players in each of the productions that I saw in Australia.

This was a celebration and we were introduced to the tartan kilts and traditional outfits befitting a wedding.  The costumes are exquisitely perfect but need to show they have been worn, cherished and stored for such a memorable occasion.  The tartans were a bit too cartoon or cliche in their purity. They need the occasional patch, darn or dirt to show some 1746 non-Westinghouse machine-washed costume, but a realistic replica of the era.

The "Wedding Ceremony/Dance" was brilliant staged and executed to bring a lump to my throat.  The passion of Charlie to naive confirm if he was now married brought a measured poignancy to the scene.

The celebratory ensemble dance is easily a highlight of this production with such talented dancers to honour the legacy of Agnes De Mille and the traditions of Scottish folk dance.  The enchainments and group patterns were with a traditional vein.  The great thing was that many danced well but also some danced better which demonstrated a social realism to the celebratory dance.

The ensemble created a wonderful atmosphere to support the wedding festivities.

The highlight for the whole show was the performance of Harry Beaton who provided a menacing objective of revenge, jealousy and anger throughout.  His unwavering determination and desperation was exhibited by his brilliant display of his Highland fling and his sword dance.  His "cutting the air" demonstrated sharp, crisp and definite lines with a ballon that showed mastery of his elevation.

The supporting dancers were impressive with their sharp moves.  I loved the suspension created in the top of their leaps to create a photographic image of their technical and physical prowess as Scottish dancers in celebratory mode.

What I loved was that the dancers were in unison but more importantly showed that some dancers are better than others within their clan.  It created a lovely honest realism to the choreography compared to the traditional "kick line" whereby precision is paramount.

The finale to Act One left us with a bad taste in our mouths and made us wet our appetite to quench our thirst at interval.  This cliff hanger encourages the audience to talk about the journey of various characters and allow us to empathise with our personal favourite.  Not a down-beat finish to Act One but more an enticement to continue to drive the story forward.

Act Two opens with "The Chase".  This is brilliantly realised with the clever use of the curtains that paid homage to the original "A Little Night Music" and to "Into The Woods" with the trees.  The lighting by Aaron Spivey finally brings to light what is possible with lighting design to create a mood.  The projection design by Shawn Sagady is haunting, mysterious and menacing.  This opening sequence resonates the desperation of Harry and the fear of the villagers that their miracle will end if Harry leaves Brigadoon.

The subsequent actions lead us to the poignant "My Mother's Wedding/Dance" by Meg Brockie and the ensemble.

The "Funeral Dance" by Maggie Anderson played by Katie Speilman is another brilliant moment with pure emotional response via dance.  The dance and choreography pays honourable homage to both Agnes De Mille and Martha Graham.. The convulsive contractions are visceral and palpable.  Her backward falls are sheer desperation and heartfelt.  This is pure dance that drives the emotion of the story forward and allows us time to reflect upon her grief.

"From this Day On" sung by Fiona gives us further insight into her character and her journey. Sung with purity and honesty.

We are back in New York and the setting is a scrim curtain with a projection reminiscent of the colour scheme and design of the Mandalay Bay Casino ceiling.  Tommy is distracted at his dinner/rehearsal for his wedding.  He hears Fiona and his heart pines for her.

The order of "There But For You Go I" is more logically placed here with precision with the newly revised book by Brian Hill.  Here we hear Tommy quite rightly determine his future and resolve decisively to return to Brigadoon ( if he can find it.)  His passion is determined and paced accordingly.  This moment would have been more passionate had "The Heather on the Hill" been less robust as we would have seen a more of a roller coaster of angst from Tommy.

The finale is well paced though the lighting for Fiona's entrance could have been a bit more alluring and build to create a majestic sweep of light.  It gives us hope in these times that are still torn with unrest.

I loved the production and welcome its development to enhance the atmospheres to bring this musical to its just position as a major work as Brigadoon has inspired many other famous shows.   I guess so underrated that a famous song was copied for another major musical!

A beautiful and underrated musical that deserves to be recognised for its place in musical theatre history for inspiring other musicals that had songs of hope - think "Somewhere" from "West Side Story" and the musical about choice currently playing on Broadway "If/Then'.  This musical was the fore-runner for a musical about choice and was way ahead of its time.  People in 1946 did not think about their choices as we have a vast range of choices today.

My choice is this show is a winner and has legs!

The Qualms - Steppenwolf Wednesday 23 July 2014

The Qualms - Steppenwolf, Chicago, IL. 23 July 2014

 23 July 2014

Tonight we were fortunate to see a performance by this iconic theatre company - Steppenwolf Theatre Company in their beautiful home base in Chicago.

"The Qualms" is by Steppenwolf Ensemble Member, Bruce Norris and is a three act play in one uninterrupted sequence.  No interval disturbs the three very clear acts within this dramatic comedy brilliantly directed by Pam MacKinnon.  She allows these actors to bring to life some moral dilemnas  about relationships, sexuality and respect.

This play touches on many topics related to monogamy and polygamy.  There are branches related to porn, homosexuality, and prostitution.  They provide stimuli for us to ponder.  The thought provoking questions are more relevant than the answers.

The Melbourne Theatre Company should be chaffing at the bit for this play as it suits their data base and will encourage newcomers due to its voyeuristic nature.  I do not want to give too much away as the sex is central to this story, but it is more about the politics of sex.  I can see much "tut tutting" by some of the MTC audiences.  But secretly I can also see their fantasies fulfilled.

The play is about a "Swinger" party.  The rules were read out etc and it was obvious that this is a regular event for many attendees.  But not tonight!  The drama unfolds.

These are adults playing supposedly adult themed games.  These are adults with their big toys and exotic games.  How is it any different to children role playing doctors and nurses etc? A loss of innocence or the knowledge that the games are no longer innocent?  Many questions are posed and not resolved.  This does not bother me, as it allows us to question ourselves and what is repsect for self and others.

This play is well written for the drama and especially the comedy which is needed to make the dramatic relationships more potent.  From the opening when the house lights rose to reveal two couples separated as is the new couple are caged inside by the regular "Swingers" - the hosts for the evening's "Play Time" party.

What  I especially loved about this opening five seconds was that the drama was evident in the opening pose.  There was so much history and atmosphere created by these skilled actors to welcome us into their "sordid" journey for the evening.

We are the voyeurs!  Our fantasies can now be tickled.  It was interesting to see the audience's reaction to the play.  Some of the audience members would mimic the actions of the actors by "protecting" their partner by surrounding them with their arms. It was interesting to hear and see the audience's reaction as some of the jokes and drama were very revealing.  Steppenwolf also provided a wall for feedback and post-it-notes comments.  This created a great opportunity for audience members to provide their insights into the play's messages and themes.

I was shocked at the lack of swearing and the restraint of the use of the "F" word.  Its absence made it more effective, relevant and enticing. The lack of discussion about detailed sexual acts also made it more voyeuristic.  This really spurred our curiosity.

The section about the Democrats and Republicans is a two sided reflection.  I think some people think it is very "Democrat" behaviour, and the more liberal and free thinking are more willing to be "swingers".  I loved how some characters moved away from the Republican lepers.  Yes they showed us an example of a democracy at work, but even more so I liked  this moment as it really showed about the lack of respect for both sides of politics and also sexual politics.

The statistics section and the look into the audience was where the fourth wall was really broken and was a moment for seduction by the cast.  It was a great reality check for people to be given a shake up about their either bigoted or free spirited natures. This section reminded me of "Bison" where the actors were looking at the audience seductively as if in a gay beat and creating a personal bond with the audience.

What I loved was watching the actors listen.  Really listen to each other.  They did real actions.  They were these characters and their objectives were clear about what they wanted to do in their action sequences.  Stillness was an action that had so much movement.  For example the realisation of a rejection was palpable.  The twists and turns by Regine played by Karen Aldridge created another level of drama that showed a real tenderness and heart.  As did the journey of Deb (a Ruben-esque lady) played with sincerity by Kirsten Fitzgerald.

Gary the host played by Keith Kupferer in a care free manner.  This was his house and his domain that he was happy to share.  His partner Teri played by Kate Arrington had a hippy quality that reminded me should could be straight out of  "Hair".  I loved how she kept the drug induced effects in her performance.  I did feel this was one aspect that the other actors may have used as well as by Teri towards the end of the play.

Diane Davis played Kristy, the wife of Chris played by Greg Stuhr.  This couple have their issues and these fine actors showed us their history from the first five seconds sitting uncomfortably centred on the couch.  Their relationship is central to the story.  The revelations about their attitudes creates tension and allows more drama and comedic opportunities.

Their journey is a drama within this dramatic comedy or comedic drama.  I call it a modern tragi-comedy. The tragedy is people not realising their potential in life.  This play is more than about the threesomes, foursomes, partner swapping scenarios.  Verbatim or oral sexium!

The questions of relationships, morals, choices, values and lifestyles is paramount to this play.  But the essence to me is about our own life and taking control of what makes us happy.  We cannot project our happiness on others.  Control is central to this play and the control shifts between different characters at various points.  This control can be within the individual couples or within the core eight characters.

The tall, handsome athletic black man, Ken was played with sensitivity and strength by Paul Oakley Stovall.  Do watch the kitchen scene closely.  Some MTC audience members will require an explanation.  I can hear the titters now!

Roger played by David Pasquesi was your equivalent to a classic Aussie stirrer.  He at times was a black cloud with his confident and laid back confrontations.  He obviously knows how to wind some people up.  His character was articulate and self assured.

Owasis Ahmed played the Delivery Boy.  I thought he was going to be a pizza boy (as he is credited as  the deliver boy in the programme).   His very short scene is terrific in creating a "Michael Chekhov" atmosphere of disquiet.

Speaking of atmospheres the scenic design by Todd Rosenthal was exquisite.  It reminded me of "Hotel Sorrento" at the Playbox Theatre at the Malthouse.  The costumes by Janice Pytel were chosen to accentuate each duality of each character. The actors themselves created the atmosphere by their behaviours, objectives and trust between each other. The way they used their emotional levels also counterpointed their inter-relationships and thus enhanced the atmospheres.

The cleaning up sequence was in silence.  This had so much tension and the characters histories, journeys and dynamics shown in this sequence.  You could empathise with each character's journey.  We have all had an embarrassing moment or a tantrum in our lives.  Or some moment that we wished we could forget or undo.  This lengthy sequence had so much drama in the silence and allowed us time to reflect.

Reliving moments is what Chris' character does so well.  Egg on his face not once but many times.  Trying to correct his errors creates more layers to his character.  This shows his brilliance as an actor to reach inside to each layer of discomfort. We cringe in mutual recognition.

Sound by Rick Sims was near perfection as the background music did not overpower the dialogue.  My only beef is the entrance of the delivery boy should have had two sound effects.  Maybe I missed it but I cannot remember him being buzzed in.

The inappropriate comments by the Palmer Party Senator, Jaquie Lambie requesting  a man "being well hung" is so relevant to this play.  This is the sort of debate that this play encourages.  That is another timely reason why MTC should snap this play up.

It would be interesting for the actors to see what is their Belbin Team player profile.

What do people go to prostitutes for?  Sex? Counselling?  Companionship? Other?  Why do people attend swingers parties?  Why do we live our lives as we do?  Challenging and confronting our attitudes.

I think there could quite easily be a sequel to this play that develops the rich areas that may be taboo to some.  This play has the potential to develop into a tv series that could explore many themes of sexuality.  For example, masturbation, monosexuality, diseases, postions, rape (both male and female rape), S&M, and bondage and deprivation. This could be developed with the questions of when and how to teach sex education.

This play explores so well the various levels of fear: anticipation, excitement, trepidation, wariness and dread.  This relates  to our fear to fully realise our potential as human beings.  The play may be appear to be about sex but it has more serious questions for us to consider about respect for self and others.

Highly recommended play with fine acting, direction and creatives.  A true ensemble play.