An Ideal Husband, MTC, Playhouse Theatre at Arts Centre Melbourne, Tuesday July 24th 2018

An Ideal Husband, MTC, Playhouse Theatre at Arts Centre Melbourne, Tuesday July 24th 2018

"An Ideal Husband" was presented by the Melbourne Theatre Company at the Playhouse Theatre,  Arts Centre Melbourne on Tuesday June 24th 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.

"An Ideal Husband" by Oscar Wilde has a cast with varying degrees of skill and expertise.  The production soars when they are faithful to the period and the comedy of manners.

The highlights included performances by Simon Gleeson as Sir Robert Chiltern, Brent Hill as Lord Goring, William McInnes as The Earl of Caversham and Gina Riley as Lady Markby for their consistent portrayal of characters.

Christie Whelan-Brown gave a commendable performance as the conniving Mrs Cheevely.  I thought she could have paid more attention to the etiquette and body language of the era.

The other woman clomped around in their dresses and need coaching of how to wear period costumes.

Zindzi Okenya improved as she warmed up after interval.  Though, she needs to be taught how to walk rather than stomp around in her dress.

Jospeh Lai as Namjac provided an exotic edge to his characterisation revealing his long hair.  Playing different roles provided us with a glimpse of his versatility.  I particularly liked his physical differentiation of each role, and look forward to seeing more of his work.

Josh Price provided us with some gems for his characterisations playing Mason, Mr Montford and Phipps.  He physically and vocally created differences.  He is someone to watch.

The acting varied from over-acting to posturing.

Simon Gleeson provided the consistency, sincerity and truth to his character, Sir Robert Chiltern.  He showed us an emotional depth to his character and reason for his every move, entrance and exit.

Brent Hill was sensational as Lord Goring in capturing the period.  His posturing was jarring at times, and required purposeful flow to create his period poses.  Some of the exchanges were so choreographed that spontaneity was lost.  We witnessed masterful comedic timing when listening between him and other characters, rather than orchestrated reactions.  (Make sure you see Brent Hill in "School of Rock" to see more of his fine acting skills.)

William McInnes as The Earl of Caversham demanded our attention with his booming resonance.  The father and son interactions, between William McInnes and Brent Hill, fed off each other by holistically listening to each other, and, heightening our enjoyment.  More of these "in the moment" exchanges were needed to heighten the stakes between characters.

Gina Riley, as Lady Markby, acted with poise and style.  Her vocal agility and plummy accent was sublime.  Her walk and use of her costume was of the period.  Gina Riley created distancing stances with commanding poise, reserve and purpose.

The Miss Mabel Chiltern character played by Michelle Lim Davidson lacked the crispness of  a Received Pronunciation accent and was hammy in her interactions with Lord Goring.  Let me say - overacted, rather than stylised.

I found the casting of Michelle Lim Davidson as Sir Robert Chiltern's sister, Miss Mabel Chiltern to be disconcerting.  Had they changed a line to say she was the "step-sister" or the "adopted sister" of Sir Robert Chiltern: then I could accept this.  If both actors were of the same ethnicity then I could understand the casting, but I found this casting reverse racism.  They may call it diversity, but others I spoke to had the same reaction.

My initial reaction to the show was the following:

"If a Caucasian was cast as a black, Asian or other ethnicity it would be deemed racist.  How can an Asian actress/actor be a brother to a Caucasian Sir Robert Chiltern?  If both actors were Asian I could suspend believes, OR if they changed ONE LINE to say "My adopted or step-sister" then it would give some credibility to the story.  The actors need lessons in how to walk in the dresses rather than clomping and stomping around the stage.  Best part was Simon Gleeson, Brent Hill and Gina Riley."

"An Ideal Husband" directed by Dean Bryant was a fun production that did not drag using slick scene changes performed by the servants.  Some of the voice projection was uneven.  More attention to historical etiquette could have provided a less contemporary physicality to some interactions.

Set and Costume Designs by Dale Ferguson captured the atmosphere of the play and provided some wonderful opportunities for entrances, exits and staging.  The staging co-existed with the lighting and direction particularly in the first act.  The lurking shadows around the curtains were a wonderful visual prologue to what would eventuate in the play.

Composer and Sound Designer, Mathew Frank provided atmospheric depth to the production.  Some of the background sound was particularly subtle, allowing us to recognise sounds without becoming intrusive.  The sound or music ramped up the volume to add an aural segue during the scene changes.

Lighting Design by Matt Scott provided an integrated design with Dale Ferguson's designs.

"An Ideal Husband" has a scene that may well be the inspiration for the famous scene from "A Gentleman's Guide to Love and Murder" - "I've decided to marry you".  If you have not bought tickets for this musical; then do so as it is a fun companion piece to "An Ideal Husband".

Simon Gleeson and Gina Riley provided the most realistically Oscar Wilde interpretations.

Overall, this was a fun night with some patchy acting at times.

This production of "An Ideal Husband" obtained a 7.5/10.

The House of Bernarda Alba, MTC, Fairfax Studio at Arts Centre Melbourne, Tuesday June 26th 2018

The House of Bernarda Alba, MTC, Fairfax Studio at Arts Centre Melbourne, Tuesday June 26th 2018

"The House of Bernarda Alba" was presented by the Melbourne Theatre Company at the Fairfax Studio, Arts Centre Melbourne on Tuesday June 26th 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 House of Bernarda Alba" was adapted by Patricia Cornelius from the original play by Federico Garcia Lorca.  She is to be admired for her adaptation to Western Australia for the structure and the essence of the original play.  Sadly some of the direction and performances did not bring out the richness of her adaptation.

I have seen the Kenneth MacMillan's ballet "Las Hermanas" performed by The Australian Ballet at least three times.  This ballet is based on the same play Federico Garcia Lorca and captures the oppression of the mother succinctly.  I was moved upon each viewing of this ballet.

There is also a musical version by Michael John LaChiusa called "Bernarda Alba" that captures so much drama in the music.  This was presented at the Lincoln Centre in New York in 2006.  Upon my first listening to this recording I was moved.  

Sadly, I did not have this experience with the MTC production.

Some notable moments included when Angela played by Peta Brady stands up to her mother Bernadette played by Melita Jurisic.  The other notable moments included the physical transformation of Adele played by Emily Milledge, with her measured performance of suppressing her sexual frustrations.  When sitting at the table her body quivered in anticipation of sexual pleasure.  Both of these daughters vocally captured their characters.

Bessie Holland as Magda boomed her voice with authority.  Sadly, some of the other actresses did not match her projection to be heard and occasionally lines were lost on the audience.  Magda is a larger than life character and understandably her voice was louder, but it is unforgivable if you cannot hear the other actresses.

Some of the updating to a contemporary setting with mobile phones, technology, fashion magazines, shopping on-line and the clothes did not work for me.  These girls live under a mother who controls them, and I did not once believe they were controlled.  Physically, it was mainly wrong - with their posture.  Thank you, Peta Brady and Emily Milledge as you gave us some insight into what oppression could begin to look like.

When reading from a magazine, please select a page with writing on to recite from.  The magazines should have been Reader's Digest or Time rather than the contemporary pop-culture magazines to give some titillation or sense of voyeurism.

Julie Forsythe played Penelope provided some fine physical comedic moments at the start of the play.  She was physically engaged in her role and gave purpose to her actions throughout.  Sadly, on two occasions her words were lost as she turned away from our side of the audience.  I noticed others in the audience turning to their partners to capture what she had said.

Costume Design by Marg Horwell did not work for me at all.  I can understand the choices were made to update to contemporary times, but the colour palate was too bright with too much skin showing to capture the essence of the original play.  The black mourning outfits should have been used more, and should have been less revealing.

Set Design, also by Marg Horwell was probably the most striking aspect of the show with the use of louvered doors, air-conditioning units and mosquito traps.  This worked in concert with the Lighting Design by Rachel Burke.  Sound Design by Irine Vela was stereo -phonically atmospheric with the sounds of the outback.  These three aspects gave us some semblance of oppression to the play.

Direction by Leticia Caceres was variable at times.  Sadly the relationships between characters were not developed adequately and we witnessed a superficial reading of the play.  With work, refinement of the direction and some design aspects, this play could be vastly improved.

I wrote the following on Facebook:

"The Kenneth MacMillan ballet Las Hermanas did a better job in much less time.  Plus the musical Bernarda Alba is much more unrelenting.  The update with swearing did not ring true.   What a shame the MTC did not do this production in repertoire with the musical version.  It would an interesting comparison for viewers.  The daughters were not scared of their mother.  The best moment was Angela standing up to her mother.  Some vocal projection issues made it hard to hear two performers.  The set and lighting was atmospheric.  Sadly the girls did not physically show us the heat."

Overall, "The House of Bernarda Alba" obtained a 7/10.

Brother's Wreck, Malthouse Theatre & State Theatre Co of South Australia, Merlyn Theatre, Tuesday June 19th 2018

Brother's Wreck, Malthouse Theatre & State Theatre Co of South Australia, Merlyn Theatre, Tuesday June 19th 2018

"Brothers Wreck", Malthouse Theatre & State Theatre Co of South Australia, Merlyn Theatre, Tuesday June 19th 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.

"Brothers Wreck", is a co-production of the Malthouse Theatre & the State Theatre Co of South Australia, and was presented at the Merlyn Theatre on Tuesday June 19th 2018.

Mental illness, suicide and family violence can happen across any sector of society.  The play "Brother's Wreck" shows the effects of a suicide on an indigenous family in Darwin.  The effects of any of these events can be traumatising for any family member.  We are witnessing such disintegration.

Yes, I may not be indigenous but I have had to endure over 41 years of mental illness in family situations and it is not a pretty sight.  Sometimes people are forgotten in the mix as others concentrate on the obviously ill person.  This aspect was touched upon in this play and created the most poignant moments between Ruben and Auntie played respectively by Dion Williams and Lisa Flanagan.

The story could have been stronger, both emotionally and dramatically, for an audience had the play been edited and directed with fresh eyes.  Some scenes did not progress the story.  The opening sequence visually was a flashback and created the contract with the audience.  It was a shame that more of this was not utilised to reduce the wordiness and bog the story down with filler.

The acting varied in quality.

Ruben played by Dion Williams has a booming voice that projected well into the large theatre, though his diction was hard to understand at times.  He played honestly the troubled brother suppressing and denying his feelings and help.  He also was one of the few actors to show us: where he had come from with each entrance, and and where he was emotionally going when he exited for each scene.  He showed us the five stages of grief - denial, anger, bargaining, depression and acceptance.

Leonie Whyman played Ruben's sister with Nelson Baker as Jacob as her partner.  Trevor Jamieson played the counsellor.

Lisa Flanagan played the Auntie and created a credible and truthful relationship with Ruben.  Their interactions on a few occasions created my emotional response.

Written and Directed by Jada Alberts has created a good template for future productions.  Some of the staging was awkward as the players were lacking purpose of what they were doing, and thus stood around a lot.  When the actors showed us some purpose of movement: this created the most resonance and life to the play.

Composition and Sound Design by Kelly Ryall included music and mainly rain effects.  This was as if the heavens were crying and we were too.  Yes the sound at times drowned out most of the performers, and they were all wearing microphones and still they were hard to hear - as they were not projecting their voices.  Simple - project the voice.

Lighting Design by Chris Petridis was effective as if enclosing and caging the action as if prisoners of their own environment.  This worked beautifully with the Set and Costume Design by Dale Ferguson.  The exit image through the central doorway was also used in "Away" to replicate a coffin.  The walls were made of plastic but looked like metal before the show began.  It was a lovely surprise when the lighting created the opaque effect.  This was highlighted when the rain was dripping down the sides, paying homage to "Singing In The Rain" with the technical difficulties of working with water on stage.

Jade Alberts directed the entrances and exits with the wings in clear view as if the actors were a Greek chorus or witnesses to the outside influences on such tragedies.  This touch added so much to the production as the players would ceremoniously wait for their cues to the drama in clear view - observers and sometimes with their hands tied to be able to do anything to assist.

Some of the stage action did not ring true as actors were censoring their full actions and not following through with a sense of purpose.  Sometimes the sense of purpose was not clear and created an in-congruence between words and action.  This jarred the production and marred the emotional connection between the characters.

I gave "Brothers Wreck" a 7/10.

The Wizard of Oz, Regent Theatre, Thursday May 31st 2018

The Wizard of Oz, Regent Theatre, Thursday May 31st 2018

Andrew Lloyd Webber's New Production of "The Wizard of Oz" was presented at Regent Theatre, Thursday May 31st 2018 by John Frost and Suzanne Jones.

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.

There are aspects of Andrew Lloyd Webber's New Production of "The Wizard of Oz" presented at Regent Theatre that resemble the London Palladium Production.  Then again on page three of the programme states, "This production is closely based on the one seen at The Palladium." But it is not "close" if you use the dictionary definition.  They are stretching the standard deviation of the word "close". 

The movie and even the most awful amateur versions of this iconic musical have had some emotional heart.  The script is foolproof to tug at the heart-strings.  The new additions to the script and extra songs give some back story to some characters but bog the flow of the show.  Yes, we get to see some sensational performers sing these new songs, as the audience ho-hummed in their seats.  The applause was very lukewarm with even the big well known songs.

Choreography was by Arlene Phillips.  The big production numbers were well executed and each of the support performers created defined characterisations.

Sadly, the most famous choreography for the "We're Off To See The Wizard" was so poorly executed and the staging was even worse due to the scenic design.  This alerted me to remembering the staging I had seen of the London Palladium production was significantly robust in the progression of the characters' journey.  I remembered they had a stage revolve or a treadmill in London.  No revolve or treadmill was used here. It looked like they use a hydraulic lift in the centre of the stage in the London production.  Marking out steps on the spot was executed worse than any amateur production I have ever seen.

I recalled seeing Poppies in the video shorts of the London Palladium production.  The 1991 production at the State Theatre, Melbourne made great use of the poppies with a poppy ballet by Leigh Rowles.

The staging most of the time was poor and showed the original staging had been massively compromised to tour the production.  Direction by Jeremy Sams was awkward in both the staging of many numbers and sequences.  Plus the relationships between the characters were so two dimensional.  I have been in tears many times watching far worse staged versions, but they had the essence of the material.  Here, I was very disappointed that I was not flowing with tears at key moments in the show.

The sets were rolled out for the Scarecrow, Tin Man and Lion while in London they had the massive revolve and substantial movement to discover each of these characters.  This is one of the most important moments in the show.  Well, the audience in Melbourne were not amused.  Yes they clapped and the response was very ho-hum.

I preferred the Munchkins in the 1991 production at the State Theatre, Melbourne.  Here the choreography was well executed, but it did not have the same impact here with the performers stooping down rather than the fun of the performers on their knees in the 1991 production.

Yes, the performers sent themselves up.  Well, camped it up.

The stand out for me was John Xintavelonis as the Lion, who captured the heart of the show.  His performance was consummate in style and honoured the book and movie.

Dorothy played by Samantha Dodemaide was way too old for the role and her voice was not pure enough with the vibrato.  More legato was required in her singing. The inter-relationships with each character needed more connection.

  

Anthony Warlow gave a great performance as the Wizard with his wonderfully versatile voice.  The added song did not add to the show.

Lucy Durack as Glinda the Good was a clever piece of casting as she had appeared in the same role in the Australian production of "Wicked".  I loved how she sent herself up as the ditsy "Legally Blonde" version of Glinda.  Usually this role is so purely performed, and I liked Lucy Durack's touches paying homage to her other roles.

Jemma Rix had also been in the Australian production of "Wicked", and played the same roles as both Miss Bulch and The Wicked Witch of the West.  The new song for her was "Red Shoes Blues" which I felt did add to the story.  Her performance was exceptional and the set looked terrific.  Her melting scene was one of the scenes that was well staged.

When the Wicked Witch of the West melts, one of the Winkie steps forward using a Russian accent, while the other Winkies stepped forward using a range of other accents.  It just lost me.  I cringed as I thought I was watching a High School version. Have them all play the Russian accent, or, any accent; but please use the same accent for the Winkies.

Costume Design by Robert Jones varied in quality.  The green shoes could use a good repaint and clean in the Emerald City number.  The scuffs and varying patch colours detracted from the sharpness of the costumes.  The farm characters' costumes did not have the worn look of working people and looked like costumes.  Yes, I know it is stylised, but ironed clothes for people working in the fields does not ring true - even in a musical.

Set Designs, also by Robert Jones were flashy and cartoon-esque.  The sets jarred at times because we only received half of the production design - by not having the revolve and the added lighting etc.  So therefore some aspects hit you with the wow factor, while others made you question that something was missing and made the staging awkward.

The Lighting Design by Hugh Vanstone was also half realised as per the set design.  The lighting was effective at times, while at other times was overwhelming as it did not balance with the set.  Whereas in the London Palladium production, from the videos and promotions looked more balanced and polished.

The Video Design by Jon Driscoll did not work as effectively from the second row, and I suspect would have looked better further back.

Musically, the ensemble numbers with their rich harmonies was a highlight.  The orchestra led by Laura Tipoki was also one of the few highs.

I wrote the following on Facebook after seeing the show:

I was very disappointed in "The Wizard of Oz" as I was expecting it to be the Palladium of London production. The programme notes say "This production is closely based on the one seen at the London Palladium....". Yeah sure. Check out the footage on Youtube and the differences are obvious. It is a very underwhelming production with no revolve etc. I could go into a lot of detail but at $119.90 a ticket for the "New production of Andrew Lloyd Webber's The Wizard of Oz". - it was not what I had seen of the London production. I have copies of the ads with dates. I would say "it had aspects or inspired by the London production". The production at The State Theatre in about February 1991 left me glowing. This, well......

I would have preferred to buy a dvd of the Palladium production.

This Australian touring production of Andrew Lloyd Webber's New Production of "The Wizard of Oz" received a very generous 6.5/10.

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.