Bare The Musical, StageArt, Chapel Off Chapel, Saturday April 7th 2018

"Bare The Musical", StageArt, Chapel Off Chapel, Saturday April 7th 2018

"Bare The Musical" was presented by StageArt at Chapel Off Chapel on Saturday April 7th 2018

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.

John Hartmere and Damon Intrabartolo wrote the book for "Bare The Musical".  Originally called "Bare: A Pop Opera" with music by Damon Intrabartolo and lyrics by John Hartmere, "Bare The Musical" was directed by Dean Drieberg for StageArt who worked magic with some repetitive material. 

Director, Dean Drieberg brought out so much from each of the fine performers, though I wanted more emotional connection between the characters.  I should have been in tears a few times and was not moved as I should have been.

Set Design, also by Dean Drieberg helped cement the fluidity and transitions between scenes.    The use of the church's ornate stained glass window prominently provided atmospheric honesty.  The looming fluorescent cross gave an instant exorcist's foreboding warning upon entry to the theatre.  We were to witness the souls being bared and hopefully cleansed.  Brilliant set design.

Lighting Design by Maddy Seach and Jason Bovaird supported the production by defining locations and enhancing atmospheres.  Sadly, some of the execution of the lighting plot was clunky and disturbed the flow and the vision of the production.

The staging was mostly effective with the simple use of chairs, two sets of lockers on trucks, and a single bed.  The use of the chairs was extremely effective when creating different locations or set pieces.  I wanted more of this and was spoiled when it was used.  The use of chairs reminded me of the inventive standards set in "The Three Lives of Lucy Cabrole" by Complicite.

The confessional trio was brilliantly simple with the two set of lockers on trucks creating the division of space.  This was simple and most effective in the writing and more of this intertwining could have been updated in the book, as many of the songs sounded similar.

Masking and blocking issues occurred on five occasions, where the blocked action was upstage centre.  We sat in the second row and could not see the main character/action on five occasions as our view was blocked by the grouping of the ensemble.  Others in the audience also craned their necks to try to espy a look at which person was singing and what was happening.

Choreography by Kirra Sibel was evocative, and provided support to the story without upstaging the material.  Some of the gestural choreography was brilliant as it highlighted the challenges of decision making and choices.  The hand and face turning suggesting the "no" head movement and the searching for choices and direction.  The choreography was powerful and simple, and oh-so-slick in execution by the fine cast.  Four ensemble members arrive wearing lead-light window costumes and created not only a set, but more importantly developed an ecclesiastical atmosphere.  I want to follow the choreographic career of Kirra Sibel.  If she can do this with limited resources, imagine what she could do with more resources.  Kirra Sibel can be proud of the cast as they executed her choreography with accuracy, honesty and resisted hamming up.  What was even more special was the cast moved with ease, in character and not with attitude.

Sound Design by Marcello Lo Ricco was balanced in Act One, and sadly in Act Two the balance was jarring for a few microphones. Sound levels seemed to be corrected after one or two songs in Act Two.  The diction was still not clear at times for some performers.  My partner found it hard to understand the lyrics most of the time, and he has great hearing!

The best part of the production was the characters were well developed individually.  More attention to the relationships would have heightened the emotional experience for the audience.

The singing was flat at times with some performers, while one performer screamed, rather than projected her voice.  The best singing was when the whole ensemble created beautiful harmonies.

Claire played by Mandi Lodge created the most warmth and depth to her character with her complex emotional responses.

Peter and Jason played respectively by Adam Di Martino and by Finn Alexander made solid performances with their respective emotional journeys.   They sang and acted well though the gait of Jason was not sports-jock enough for credibility.  Adam Di Martino's Peter showed us distance and longing and desire for Finn Alexander's Jason.

The cast were consistently good working with some better-than-ordinary, and repetitive material.

Overall "Bare The Musical" obtained a 7/10.

Gilligan's Island, Humdrum Comedy and Left Bauer Productions, Chapel Off Chapel, Saturday March 3rd 2018

Gilligan's Island, Humdrum Comedy and Left Bauer Productions, Chapel Off Chapel, Saturday March 3rd 2018

"Gilligan's Island The Musical" was presented by Humdrum Comedy and Left Bauer Productions at Chapel Off Chapel on Saturday March 3rd 2018.

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.

"Gilligan's Island The Musical" created the atmosphere of the iconic television show as soon as you entered Chapel Off Chapel.  The stall for programmes was attended to by a couple sporting Hawaiian leis.  On their table was a large book containing cut-outs that appeared to be a copy of the programme.  The programme cost $5.00 and was exceptional value and other theatre companies' should take note of both the price and quality of the programme.  The inside cover states the full date of the season, including the year 2018.  So many other companies' do not put the year which can be off putting.  Notice how few of the posters in the Chapel Off Chapel foyer actually state the year of their production.

Entering the theatre was a joyous welcoming experience.  "The Skipper" (full name: Jonas 'The Skipper' Grumby) was played by Sam Marzden welcomed and directed patrons to their correct aisle.  Other cast members acted as ushers to direct patrons to their seats.  This was all improvised in character and developed an atmosphere of fun.

As "Gilligan's Island The Musical" was about to begin the cast assembled on the makeshift stage.  "The Skipper" graciously asked that audience members who wanted to take photos do so now and then to turn off their phones.  He also requested that there be no photographs or recording during the performance.  The cast struck poses and allowed about two minutes for photos to be taken.  Then the show began.

The opening number was well staged and slick.  Sadly a rude woman in C Row held her phone up recording and blocked people's views.  I hopped out of my seat and asked her to turn it off.  A few people were aghast, but my partner told me after the show that another man jumped out of his seat and did the same thing on audience right.  By turning off your phone is showing respect to the  performers and other audience members. More people need to call out this rude and selfish behaviour.  (At "American Idiot" on Thursday someone called out "Turn off your phones").  We do not pay good money to watch or be distracted by screens, phones and other devices!

"Gilligan's Island The Musical" pays homage to the iconic television show, "Gilligan's Island" and is a fun dinner theatre style show.  It is a perfect vehicle as a sing-a-long for the opening and closing numbers.  The show is light and fluffy with lots of double meanings.  The cast made the most of the material and thin plot.  The cast are better than the actual material.

Gilligan played by Riley Nottingham with requisite panache and vaudevillian interaction with "The Skipper".  Physically he was not skinny enough with his muscular frame, but more importantly he captured the spirit and essence of Bob Denver's Gilligan.  Riley Nottingham has a good voice and charismatic presence and he is a performer to watch in the future.  The traditional coda scenes, where "The Skipper" and Gilligan bed down for the night, were staged simply and effectively.  Standing up sleeping gave us the illusion of a plan-view that was used in Sydney Dance Company's  "Poppy" and  the musical version of "Hairspray".  As each performer held the top of the hammock above their heads the sense of  swinging was immediate.  Riley Nottingham's timing was terrific particularly when leaning on the bench and sliding forward.

Sam Marzden was terrific as "The Skipper" and paid homage to Alan Hale Jnr with his moves and facial expressions and vaudevillian antics.  At times his voice sounded similar, and his characterisation was not an impersonation but an honest portrayal of the essence of "The Skipper".  His performance was beautifully understated as it could have been hammed up.

At first I thought that Thurston Howel the Third and Mrs Lovey Howell played by Joshua Monaghan and Lauren Jimmieson were too young for the roles.  They are twenty to thirty years too young for the roles, but wow they both did a terrific job of capturing these wonderfully flamboyant characters.  Sadly the costumes for them did not do their performances justice as the costumes lacked the classiness of their characters.  In particular the yellow dress and green stockings for Mrs Lovey Howell looked ridiculous and tacky.  Joshua Monaghan was cartoon-esque with his make-up, but his facial expressions, twitches and tones channeled the immortal Jim Backus.  His soft shoe dance was a bit heavy and needs more vaudevillian lightness and ease.  Lauren Jimmieson captured the glamorous spirit of Natalie Schafer.

The movie star, Ginger Grant played Alexia Brinsley captured the essence with her moves, though her vocals lacked the huskiness of Tina Louise.  Her audience participation was terrific.

Kaya Byrne captured the pedantic nature as the Professor Roy Hinkley.  Upon entering the theatre he remained focused on the stage correcting items rather than interacting with the audience which was a fabulous touch. He channeled Russell Johnson throughout, and his song "The Professor's Lament" was a fine solo where he resisted hamming up.
  

Molly Fisher as farm girl, Mary Ann Summers not only looked like Dawn Wells but sang like an angel.  Her duet with Gilligan was terrific as they captured the innocence of the 1960's youth.  Molly Fisher's characterisation was sincere, honest and solid. Her exit trying to emulate Ginger Grant's swaying hips was awkward, and hilariously funny.  She absolutely nailed this role and won so many hearts.

Director, James Cutler achieved a good job from this fine cast as they captured the essence of the television show and 1960's.  The quick sand antics were well staged, as was the sense of distances beyond.  James Cutler should be proud that he elicited so many fine performances from such average material.

Sadly some of the costumes by Jodi Hope did not work for the Howells as they lacked sophistication and class, while those for Ginger and Mary Ann were sensational as they differentiated the types of characters.  The costumes for the other cast members worked well.  

Musical Direction by Xavier McGettigan led a competent band.  Some of the individual singing was a little off at times and was not disconcerting as they nailed the essence of each character.  The harmonies were basic and generated a sing-a-long atmosphere.

Choreography by Kai Mann-Robertson was fun and particularly strong in the opening sequence.  The "Hieroglyphics" trio with Gilligan, "The Skipper" and Professor in Act One was fabulous, though some moves lacked definition and could have been executed with more precision.   "Gilligan's Island The Musical" originated in a demo-recording 1980 and preceded the stage musical version of "Mary Poppins the muscial" that included a similar gestural showstopper  "Supercalifragilisticexpialidocious".

Lighting Design by Rob Sowinski created definite locations and atmospheres.  He captured the moods of the television show and transported us back in time.

Set and Props Design by Adam (Gus) Powers was terrific, as he created that knock-about-quality of make-shift improvisation that were functional and effective.   The bamboo stage reminded me of the Hamlet episode from the television show.   Memories of that theatrical episode flooded back upon entering the theatre.  To have a stage upon a stage was a clever move as it highlighted the switching mediums of stage musical from a television show.   My favourites included the vaudevillian signage, the hammocks and back-scratcher hand. The classic prop of using sheets used as curtains still makes me laugh as to why a three hour cruise would carry so many items.  This was pure simple genius that captured the simplicity of the television show.  The suitcases could have looked a bit more battered around but that also adds to the ridiculousness of the show.  I really look forward to watching the career of this fine designer, and remember his name: Adam (Gus) Powers!

The cast and crew of  "Gilligan's Island The Musical" should be very proud of their efforts as they worked wonders with some very ordinary material.

This company should consider other iconic television show musicals as in "Beverly Hillbillies The Musical" by Theatre at the Centre that premiered in Munster, Indiana in August 2014.

"Gilligan's Island The Musical" obtained a 6.5/10.

American Idiot, Comedy Theatre, Thursday March 1st 2018

American Idiot, Comedy Theatre, Thursday March 1st 2018

"American Idiot" presented by shake & stir theatre co and Queensland Performing Arts Centre at the  Comedy Theatre, Thursday March 1st 2018.

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.

"American Idiot" presented by shake & stir theatre co and Queensland Performing Arts Centre at the  Comedy Theatre, Thursday March 1st 2018.

Direction by Craig Ilott scraped the bare essentials from the show.  The emotional journey of each character was lost on the audience as the main performers were not secure in their characterisations. The relationships between characters were nearly nonexistent. The staging was well done and sadly the performances did not elicit the emotion from the material.  The audience barely applauded during the show.  I remember crying my eyes out on two occasions as the Broadway performers brought out so much angst and truth from the material.  Sadly this depth was lacking in this production.

Interestingly I think the show worked better during the Obama years to counter point the messages, rather than the in your face Trump years.  The show has blandness and seems like the "Me Too" equivalent for satirising Trump. It lacks any protest.

The choreography by Lucas Newland captures the essence of the show, but sadly the execution of the choreography was very questionable - with some performers walking the moves.  We were in the front row and did not miss a trick.  For example: when the new recruits lined up in their white underwear for inspection; the military officer lacked authority in his gait.  Then the performers marched off in various modes of carelessness.  The costume change for Tunny could also have been choreographed better to allow for his jacket to be prepared rather than him swinging the coat around.  Feed him the jacket so that he can slide his arms into it!

I look forward to seeing more of Lucas Newland's choreography in the future.

Only one performer was consistently hitting the moves - she was wearing a black short skirt with stripped socks in the opening sequence.  I think this was Erin Clare who displayed consistent angst and depth of any characterisation.  

The other performer who shone was Connor Crawford as Tunny who showed us a glimpse of what this show is about.

Vocally the show was very average with only the finale capturing the rich vocals and harmonies that were so missing throughout.

Lighting Design by Matthew Marshall was slick, clean and sharp as it created defined spaces,

Video Design by Craig Wilkinson was effective to create moods and atmospheres.

Set Design by Josh McIntosh was a variation of the Broadway set and was very effective with the video screens housed into the set.  The trolleys were too clean for their purpose.

The band was easily the best part of the show.  So congratulations to the Music Director Glenn Moorhouse and the Sound Designer Julian Spink.

The performers seemed to be on edge or cautious.  They seemed to be holding back.  Whether this has anything to with after effects of the recent sacking is anyone's guess.  But I witnessed a very lacklustre show with barely any applause.

My partner described the performances as shocking!

"American Idiot" obtained a 6.5/10.

The Children, MTC at Sumner Theatre MTC, Tuesday February 27th 2018

"The Children", MTC at Sumner Theatre MTC, Tuesday February 27th 2018

"The Children" a co-production by MTC and STC was presented at Sumner Theatre MTC, Tuesday February 27th 2018.

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 Children" by Lucy Kirkwood and directed by Sarah Goodes as a co-production by MTC and STC.  In a nutshell the acting is better than the script.  The direction is laboured.

The logic with the set design is flawed when the stage left door is opened with no change in the lights.  Then suddenly there is a lighting change with a huge doorway lighting effect.  

The kitchen with the table and two chairs made sense while the sole lounge chair screamed unrealistic.

The major visual effect is flawed also when William Zappa who plays Robin sits in a trail of the visual effect.  There is not a trace on his jeans when he stands.

Writing wise, there seemed to be segments spliced together to create scenes and then patched together to create drama.  The play took way too long to get to any potential drama.

The funniest lines were those usually delivered by Pamela Rabe as Hazel, who underplayed her asides to reveal deep feelings.  Sadly these asides rarely raised a vocal laugh as they were the best writing in the play.  Though the asides that were overplayed and made obvious to the audience as "this is a laugh line" rose laughs of recognition.  Sadly these were embarrassing to watch as they were played so much in our face.

The actions were laboured by the over produced and over rehearsed choreographed actions  that there was barely a truthful realism.  Pamela Rabe came closest with her fastidious ways, particularly in the preparation of a meal that took way too long for what was produced.  The best piece of realism was when Sarah Peirse as Rose rescued the dripping lettuce in the tea-towel.  More of these moments were required to save a very ordinary script.

These fine actors are better than this ordinary play and this direction.

What really lost me was William Zappa's entrance with the bike.  He kept carrying it during the welcome scene.  The used the machine to check for any radiation.  Wow!  It read okay!  But later this same man was being checked with the same machine, on the same day and now we have a dramatic reading.  Oh spare me!

The telephone rang conveniently to provide a distraction.  This was another spare me moment!  It was so cliched and the phone call took the requisite amount of time for the reveal scene.  My eyes were rolling my eyes in my head as it was as if this was an undergraduate play.

The accents varied and heaven forbid we had the occasional Canadian or Australian sounding word and phrase.  And they used a vocal coach!

The dance routine scene seemed so out of place and overly long.  Yes the MTC and STC  had to justify the use of a movement consultant.

The set design does not work properly in this theatre with the sight lines as each side of the audience is denied the view of one of the end walls.  The set is set askew with the stage right side further upstage (kitchen set) than the stage left side, that provides some tension.  This tension is then negated by counter balancing the less cluttered stage left side with the sole lounge chair and stool.

I have seen amateur companies do a better job with less flamboyant sets and costumes than this overly produced work.

To top off this we had to endure a very loud ringing mobile phone.  Then there were three other phones that beeped throughout.  Plus two of those flashy watches with computer attachments had to be checked on numerous occasions.  In a darkened theatre these flashy lights are so distracting.  The first loud ringing phone was during a crucial reveal that both my partner and I missed the dialogue.

Overall, this production obtained a very generous 6,5/10.  My partner agreed and said the whole play was too long!

Picnic at Hanging Rock, Malthouse Theatre, Saturday February 10th 2018.

Picnic at Hanging Rock, Malthouse Theatre, Saturday 10th 2018

"Picnic At Hanging Rock" was presented at the Malthouse Theatre on Saturday 10th 2018.

For those new to my blog I write about the holistic experience of attending the theatre.  So if you want a re-telling of the story please refer to the links for further information or for further insights.  Note, that I may provide different links for repeated main words or phrases.  I also mainly write for my memories of what I have seen.

This is our second viewing of the play "Picnic at Hanging Rock" that has been adapted from Joan Lindsay's novel by Tom Wright. We originally saw this production at the Malthouse Theatre, on Wednesday March 9th 2016 and we practically ran out of the theatre screaming "Miranda...get me out of here."  This time we were prepared and were pleasantly surprised.  Maybe they had read my review and deleted the "fuck, fuck" sequence!

"Picnic At Hanging Rock" at the Malthouse had originally made us wanting to flee like Edith screaming and running down from the rock "Miranda, Miranda. Miranda." This time the production made more sense. The 85 minutes was more tolerable.  Still not my favourite work it is worth seeing to discuss the book and the film.

My favourite part from the original viewing did not have the same impact.  It lacked the atmosphere when the three of the actors formed a triangle and raised alternate arms and then touched palms to create the most ethereal aspect of the production.  They did this sequence twice which seemed to lack the shadow of the large looming tree at the back of the set.  The shadow had looked like an alien space craft in earlier scenes and did not create that impact here.

Thankfully they had deleted the word "fuck" from this updated version.  The sequence where Irma returns and the other students want information and they attack her.  This sequence was more believable.

The opening created a shared descriptive monologue that foretold the doom of this production.  Each of the five actors shared the verbose opening.  The actors rotate roles and not look like the characters at times. I maintain that it would help when and if they would try and use some body posture to differentiate each of the various characters, as the vocal differences can be subtle.

The production on second viewing has been tightened and can challenge us with focus.  It is not as confusing on second viewing.  Half an hour into the production and suddenly an actor appears in a man's outfit.  Why?  Why now suddenly use different costumes to create and differentiate characters?

Arielle Gray was again the most effective when using vocals to create a male character.  Her changing to male body posture was less defined, which had been so strong in the original production.  Her writhing scene as Sarah made more sense on this viewing. Sarah's vocal change from a mouse squeak to nearly a lion's roar towards the end of the play made more sense on the second viewing.  The quality of the mouse squeak had a more unnerving quality in the first production.

Elizabeth Nabben's created a a stronger journey as Miss Appleyard with her clear diction.  I maintain her pronunciation of words like "room" and "noon"lacked the upper class precision, though I congratulate her as they were not as strine on first viewing.

The final suicide scene did not have the same impact as the first viewing.

All actors, including Harriet Gordon-Anderson, Amber McMahon and Nikki Sheils had their fleeting moments of glory and were more confident with the material.  The variance in the fleeting moments was more consistent and not as jarring.  A maturity had developed in their confidence. Thankfully the anticipation on their faces and in the breathing for their next line or action was absent.  I did not get bored, though I did notice balancing could be an issue with the slow walks forward.  Occasionally, the synchronisation of the ensemble stepping forward was not as precise as the first viewing. and lost that sense of foreboding.

Set and costume design by Zoe Atkinson had a modest set comprising of a large "V" shaped wall>  Most noticeable was the absence of the wardrobe upstage right. The footprints in the carpet were not as distracting.  The quick scene and costume changes were silent and appeared effortless.

I am still at odds with the use of the costumes.  I think the contract made with the audience in the opening scene broke when the other costumes were introduced.  Some costumes were of school uniforms we then had to endure the confusing introduction of character costumes occasionally. The most noticeably was that Miss Appleyard never had her own costume while Irma did.  This did not make sense and appeared incongruent.  Maybe Miss Appleyard had never grown up from being a schoolgirl.  Oh, someone will justify why this was done.  I still wonder "why some characters were being dressed in a different costume and not others?"  It did not make me cringe, but try to fathom why the inconsistency. I would love to hear the justification from the costume designer.

A possible answer to my above question is that some characters remained in costume to show they had were travelling in another time zone. (Refer to the article below for other possible insights as to the costume question!)

The production is an academic discussion of the myth, and is better on a second viewing.

The lighting by Paul Jackson did not add to any mystery but emphasised the concept of time and what it must be like to be in a black hole of nothingness.  It did not alienate me this time with the long black outs between scenes, but made me pause for reflection.  The music did not seem to create an atmosphere as in the original production.

The sound-scape and composition by J.David Franze and Ash Gibson Greig made such an impact on the first viewing and at times reminded me of "Earthquake" with sensurround in the 1970s.  This second viewing left me disappointed as the sound design as in the sensurround effect was more atmospheric in the first production.

For those who did not read my 2016 review, there is an entertaining and informative article - "The Solution to Joan Lindsays' Novel 'Picnic at Hanging Rock'?" by Brett McKenzie.

My partner gave it a 5/10 while I gave it 6.5/10.  

Falsettos, Stage Art, Chapel Off Chapel, Saturday February 3rd 2018.

Falsettos, Stage Art, Chapel Off Chapel, Saturday February 3rd 2018.

"Falsettos" was presented by Stage Art at Chapel Off Chapel on Saturday February 3rd 2018.

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.

"Falsettos" was presented by Stage Art at Chapel Off Chapel on Saturday February 3rd 2018.

Vocally, Mendel played superbly by Nick Simpson-Deeks sang without going flat.  Sadly the others  hit bung notes on occasions.  His performance had depth of character as he built up relationships with other characters, in particular Jason played well by Ben Jason-Easton.

The quality of the ensemble singing harmonies was questionable.  This show should have lush harmonies to evoke emotion.

The lesbians from next door livened up the stage in Act Two.

Lighting Design by Tom Davies was awful and unfocused and barely made any distinction between locations.  The execution of the lighting plot was laboured, mechanical and amateurish.

Set Design by Daniel Harvey was messy and dysfunctional, thereby creating obstacles for the staging.  The stage left rostrum was under-utilised and jammed up the stage.  The image of the chess set was a great idea and sadly under-utilised by not having the actors move into precise squares to create tension as in a chess game.

The set was awkward and dangerous as the actors navigated the squashed set.  I cannot understand why the white cut-outs of the New York City skyline were not placed further upstage.  The performers had to try and squeeze through to make entrances and exits.  The lesbians from next door were the most obvious as they cautiously clambered over the upstage step to make entrances.  These cautious entrances detracted our attention from the show.

The set did not define locations and lacked any "neuro-linguistic programming" assistance for the audience.  Good direction and set design uses principals from "neuro-linguistic programming" to heighten recall and emotional connection.  A simpler design with more benches would not only free up the stage but create more flexibility in staging.

Costume Designs by Meredith Cooney was adequate and captured the essence of 1979 and 1981.  The toy soldiers' outfits were fun. The texture of Marvin's jacket, shirt and trousers with contrasting fabrics was straight from a 1981 edition of GQ.  

The four men wearing toy soldiers' costumes was a nice touch for the "March of the Falsettos" quartet.  Sadly the marching was very pedestrian except by Whizzer.  Can't they lift their knees to create the mechanical toy image?

The choreography by Madison Lee was not fully realised in "March of the Falsettos".  The emphasis on the inner struggle and trepidation of the words "one foot after the other" was absent.  The full meaning of this song was lost in both the words and choreography.  The "March" is both an inner struggle for each of the individual characters, and a struggle for the gay community at the time..  Remember, for example that the Stonewall riots had only occurred a decade earlier than when Act One is set in 1979.

Trina was played by Sarah Shahinian.  Trina's Song was well executed and sadly some of the staging was lost as the front row of seating blocked the action.

The "Late for dinner/late again" sequence was lost on some audience members as Whizzer stood on the large rostrum on stage left.    This sequence had no hint of suspicion, sexual innuendo or rendezvous or betrayal and thus lost any tension.  More thought was required in both the staging and the performances to elicit a fuller emotional connection to the material.  The lighting also let down this sequence and could have created more of the requisite tension between the characters.

Act Two was better than Act One, and it was obvious where the most rehearsal time occurred.  The choreography by Madison Lee was slick for the opening of Act Two.  Overall, the choreography by Madison Lee was better in Act Two, both in design and execution.

The Ball Game sequence was messy with the staging as the cast were squashed up stage right near the piano looking out to their audience right.  By doing so, the sense of perspective was squashed.  A simple method would be to have them placed further back on stage left or looking out into the opposite direction towards audience left.   The lighting also let this scene down by flickering lights.  The lighting cues seemed nonexistent. The best part of this scene had the six performers sitting on the bench executing slick choreographed moves.  The focus on Jason playing baseball was at odds with any sense of perspective and distance.

The two lesbians created the most warmth in their relationship and had some sexual energy.  Along with Mendel, the two lesbians, and Jason were the closest in making me feel empathy for any of the characters.  The others made me feel distanced, cold and disconnected and I did not believe them on their separate journeys.

Nick Simpson-Deeks as Mendel created a fully rounded complex character that we could warm to. His idiosyncrasies did not dominate but textured his performance with qualities.  

Ben Jason-Easton as the son Jason gave a very credible performance full of nuance and with great timing.  His duet with Mendel captured the vaudeville style and flavour.  This duet was a welcome relief.   Their performance and working relationship was as good, if not better than other versions I have seen of this show.

The staging overall was very messy.  In Act One, focus was drawn from the main action and there were missed opportunities to freeze some characters to emphasise the focus on the main action.  For example Jason laying on the piano with his chess set was distracting as he kept moving.  The lighting also did not focus our attention.  The lighting plot seemed nonexistent.

The laughs were rare and are needed to cut through the story's building tension.  Sadly the tension between the characters was nearly nonexistent, and so reduced the opportunities for laughs. One of the funniest moments was when Mendel was simulating an erection with a white scarf.

There seemed to be a lack of character research of what it was like in the early 1980's with sexual freedom of expression juxtaposed with the threat of a new disease.

There was no sexual spark or electricity between Marvin played by Don Winsor and Whizzer played by Sam Ward.  They barely had any physical or emotional contact, and came across as contrived, frigid and stilted.  They both sang okay with the occasional flat note.  The final song "What Would I Do?" lacked any heart.  I wanted the whole audience to be in tears as I had experienced when I saw the 1994 STC production of "Falsettos" at the Alexander Theatre at Monash University.  Instead I felt relieved when this performance was over.

I found the show lacked warmth and was forced.

The seats were so uncomfortable that what should be a pleasant experience felt pained.

The singing by Nick Simpson-Deeks as Mendel; Ben Jason-Easton as Jason; Francesca Arena as Charlotte and Jenni Little as Cordelia was welcomed.  And these were the supporting roles!

The playing accompaniment by David Butler was assured and honoured the score.

From a safety perspective an usher should have been standing near the floor lights to direct audience members.  This should have occurred as patrons were entering and leaving the theatre at the beginning, interval and at the conclusion of the show.

The programme is not worth $10.00.  Yes $5.00 is reasonable but not $10.00!  Thankfully ours was included in the season's package.  I noticed very few people bought a programme.  I congratulate the programme seller for walking through the waiting crowd.

Director, Tyran Parke is capable of much more.  The set design limited many aspects of this production.  More depth of characters and relationships was required as well as the reasons for doing actions and singing the lyrics.

Sadly this version of "Falsettos" is not one of Stage Art's better shows.

I wish this company would perform at the Alex Theatre in St Kilda as the seats are more comfortable and has better sight lines.

"Falsettos" obtained an adequate 6.5/10 while my partner gave it a 7/10.

Dream Lover: The Bobby Darin Musical, State Theatre, Thursday January 11th 2018

"Dream Lover:  The Bobby Darin Musical", State Theatre, Thursday January 11th 2018

"Dream Lover - The Bobby Darin Musical" was presented at the State Theatre, Arts Centre Melbourne on Thursday January 11th 2018.

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.

"Dream Lover - The Bobby Darin Musical" was presented by John Frost (Gordon Frost Organisation) and Gilbert Theatrical at the State Theatre, Arts Centre Melbourne  on Thursday January 11th 2018 is a sublime show.

I wrote the following paragraph onto Facebook as soon as I arrived home after the show:

"Congratulations to the cast and crew of "Dream Lover - The Bobby Darin Musical".  I have seen over 60 shows on Broadway and it is up there with the best.  A great night at the theatre.  I bought front row seats accidentally thinking I was five rows back and these performers could not hide.  Wow - great honest and heartfelt performances.  Yes, David Campbell is sublime as Bobby Darin, but the whole cast were terrific.  The choreography was fabulous and paid homage to the 1950's and 1960's.  Highly recommended."

The "Childhood" and "Road to Rock 'N Roll" sequences provide the background to Bobby Darin's story and set up the characters and their emotional relationships.  These two sequences provide so much musical and dramatic action to build the sense of anticipation and tension.  The staging and dialogue is so tight that you do not want to miss a line.

The "Vegas" sequence is short.  The Las Vegas showgirls scene showcased female dancers who were slicker and more polished than those that I saw in "Jubilee" at Bally's in Las Vegas in 2008. 

During the "Hollywood" sequence, the Clapper-board used in Italy with Scene 74 and Take 1 was not changed for each of the various shots.  Pedantic, yes but not unnoticed!

The finale to Act One with "Dream Lover" sung by Bobby Darin and Sandra Dee was an appropriate cliff hanger break for those who do not know his story.

Act Two opens with the "On Tour" sequence and a reprise of "Dream Lover" by Bobby Darin and the ensemble.

The "Multiplication" song is next, and begins in full voice, fading to be mimed to juxtapose a scene where Sandra Dee's mother confronts her daughter.  The ensemble miming creates a musical silence that is deafening against the dialogue.  So brilliantly effective with the ensemble resuming the vocals to counterpoint and punctuate the finish of the scene.

The "On Tour" sequence continues with four more songs which pays homage to the "Gypsy" stripping sequence where Gypsy Rose Lee sings "Let Me Entertain You" sporting quick-change gowns.  In "Dream Lover - The Bobby Darin Musical", they use a similar theatrical sequence by announcing different venues where Bobby Darin will perform: "Live from (fill in the venue)...."; but instead of repeating the one song as in "Gypsy", a medley of Bobby Darin songs is used.  This sequence also pays homage to the historical reverence to some old classic songs that Bobby Darin had reworked.

The "Copacabana" sequence, although short, more importantly allows the story to move forward by providing the realisation of Bobby Darin's childhood dream.  This realisation of his dream emphasises the significance of the show's appropriate title.

The "Slippery Slide" sequence included a reassuring and educational song of experience by Polly "Everybody Has The Right To Be Wrong" that pointedly highlights how wrong Bobby Darin's choices had become.

Bobby Darin's son, Dodd played admirably by Oscar Mulcahy reprised "Splish Splash" and received an enthusiastic ovation for his slick dance moves and impersonation of his father.

"Rainin'" was a poignant funereal tribute to Robert Kennedy.  The staging with all of the umbrellas was a bit cliche as it reminded me of each of the funeral scenes from  "Blood Brothers" and "Chaplin".  What is it with the umbrellas that highlight the pathos of a funeral and to provide the subliminal message of tears from heaven?  The transformation of the white coffee table from the previous scene into a coffin was simple, and visually and emotionally moving.  (See Getty images for Charlie Chaplin funeral).

The emotional finale with the characters surrounding Bobby Darin is poignant.  The suitcase opening is magical stuff.  Watching the cast was very moving.

Every ensemble member played a fully blown out character.  There were no two dimensional performances here!

The choreography by Andrew Hallsworth captures the essence of the 1950/1960's era with his combination of steps and staging.  He has created layers of texture into his choreography by using various qualities.  The formations he uses with the six entrances provide interest, spontaneity and surprises.  (The six entrances include the two wings, the doors, upstage - down the stairs, and from under the piano!)  Occasionally the dancers will sneak or explode onto the stage.  While other times they will parade, or pas marche in a solemn funeral procession.  "That's The Way Love Is" sequence climaxed with some clever swaying and pulsating body thrusts - suggestive and appropriate for the choreography to also move the story along as in Agnes De Mille's iconic choreography for "Oklahoma".

Lighting by Paul Jackson provides focus and clarity with the use of colours to distinguish locations.  The slim rail flown-in was lit to provide a clear sense of separation of distance and location.  This was achieved in combination with the Set Design by Brian Thomson.  The set looked simple and was ingenious in its simplicity to create the sense of various locations - particularly in the many showrooms, theatres and venues that Bobby Darin played in.  The white lounge setting had a white coffee table that transformed into Robert Kennedy's coffin.  This was tastefully achieved with honour and respect.  The kitchen scene with the family during the "Childhood" sequence transported you back in time to the 1950's.

The big band set with the sweeping staircase is nothing new to Hollywood or Broadway musicals and reminded me of the wonderful set from "Catch Me If You Can".  Brian Thomson is a classy designer for his ability to create focus and gravitas to the essence of a story.  I have seen many of his set designs and the simplicity in "Dream Lover - The Bobby Darin Musical" is not to be under-rated as it provides clarity to the story and seamless segues between scenes.

Sound Design by Michael Waters provided an appropriate and contrasting sound mix.  The crisp, clean sounds for soloists and ensemble numbers contrasted when the performers used the larger silver microphones as in showrooms, which provided a realistic concert- not so polished 1950's sound.

Costume Design by Tim Chappel transported me to my childhood as I remembered some of the various patterns and textures of fabrics.  When Bobby Darin and Sandra Dee's son, Dodd, played by a Oscar Mulcahy, appeared in his blue and white pyjamas the audience had a chuckle of recognition that the pyjamas were the same fabric as the dancers had worn in the previous scene.

David Campbell was Bobby Darin.  He was totally believable and is a tour de force.  The genuine emotional connection to the material and his relationship to the other characters could not be fabricated.  We sat in the centre of the stall's front row where David Campbell and the cast were under the radar.  He has an honesty interacting with the other characters.  His ability to listen to the other performers created honest emotional connections that were palpable.  His tears trickled down his face on at least two occasions as he allowed the depth of revelations to sink in.  And this was his sensational acting!  Wait until you hear this man sing!  He knows how to adjust his voice to create so many qualities and emotions.  David Campbell is a master in phrasing and brings the lyrics to life. He can change his voice from a teenage idol, to a more mature sound and finally to a man gasping for breath!  Broadway would want to see him play this role.  No - Broadway should be begging to see him play this role!

I am loath to use the term supporting cast as Bobby Darin's story would not come to life without the other performers.  Marina Prior plays the dual roles of Polly and Mary and makes each character physically, vocally and emotionally distinguishable.  At times when the deceased Polly reappears it reminded me of "The Secret Garden" when Lilly would reappear.

Marney McQueen plays Nina and provides us with a definite journey of pain, sharing and discovery.   David Campbell would not have been able to create his believable reactions without their acting relationship.  The revelation scene was magnificently poignant and gut wrenching, while earlier scenes were full of joy, support and love (obviously with an underlying secret).

Rodney Dobson as Charlie was upbeat, blokey and supportive.  He has a terrific stage presence and showed  "That's The Way Love Is" song as a great number that compares with the "Oh What A Night (December '63)" scene from "Jersey Boys" providing a similar dramatic through line.

Martin Crewes played manager Steve Blauner with style, flair and the appropriate amount of cockiness.

Hannah Friedriksen played Sandra Dee by capturing the 1950's innocence.  Her journey from naivety, to alcohol abuse to rehabilitation was believable.  Hannah Friedriksen had a vulnerability that was respected with tenderness by David Campbell and allowed for an honest relationship.

The dual role of a Young Bobby (Darin) and Bobby Darin's son, Dodd was admirably played by a Oscar Mulcahy. He mimicked his father's moves with dexterity and confidence.

I was disappointed that the other minor roles were not named named in the programme as in Dion, Frankie Avalon, Buddy Holly etc.  I can understand that with swings and understudies these can change, but I wanted to acknowledge what a super ensemble provided so much depth to this show.  Every one of the ensemble cast created clearly distinguishable personalities for each of their cameo roles.

Musically - what a show!  The big band led by Richard Montgomery was sensational.  Before the show began the band played to create a sense of occasion, as if entering a Las Vegas showroom.  Thank you for creating atmosphere.  A huge compliment to the orchestra was that most of the audience sat during the exit music.

Congratulations to Simon Phillips on directing such a wonderful night at the theatre.

The only reason I did not stand in a well deserved standing ovation was that I would have blocked David Campbell being seen as I am so tall.  I could not take block the audience seeing him in his well deserved standing ovation.

The programme is a great souvenir and is good value with some terrific articles.

Overall, "Dream Lover - The Bobby Darin Musical" obtained an 8.5/10.  I would have preferred to sit further back to relish this lush and clean production.  

PS In fact I am returning to see the show again on February 21st and will sitting about six rows back in A row.