Jekyll and Hyde 25th Anniversary Concert, Hamer Hall, Arts Centre Melbourne, Friday October 25th 2019

Jekyll and Hyde 25th Anniversary Concert, Hamer Hall, Arts Centre Melbourne, Friday October 25th 2019

"Jekyll and Hyde" was presented by Concertworks at the Hamer Hall, Arts Centre Melbourne and we attended the Australian professional premiere on Friday October 25th 2019.

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.

"Jekyll and Hyde" was presented by Concertworks at the Hamer Hall, Arts Centre Melbourne for the Australian professional premiere. Finally we got to see Anthony Warlow  and the Melbourne Symphony Orchestra in the 25th Anniversary concert of the release of the iconic “Definitive Album” - “The Complete Work Jekyll and Hyde” with Music by Frank Wildhorn and, the Book and Lyrics by Leslie Bricusse.

The atmosphere at Hamer Hall was electric before the show. I have not felt this much atmosphere at a Melbourne show for years. The last two shows that I saw that had this much pre-show buzz were “The Prom” and “Beetlejuice” on Broadway in August 2019.

Long queues of people waited patiently to purchase the souvenir programme for this professional Australian Premiere event.  The programme sadly did not include the song list. Nor did it discuss the history of some of the changes made from the concept album, to the Broadway runs. Check out Wikipedia for some notes on the changes that have been made along the way.

Anthony Warlow was superb but cracked a few notes during “This Is The Moment”.  My heart swelled as the Melbourne Symphony Orchestra played the underscore and introduction to the song. I had tears rolling down my face during this song. To finally hear him sing this in the context of the show live was worth every cent. The ovation and cheering at the end was long and well deserved.

Jemma Rix as Lucy was sensational and did a terrific job of the role. I was saddened that one of my favourite songs has been deleted since the original recording ‘No One Knows Who I Am”.

Lisa played by Amanda Lea LaVergue with pinched notes and forced “you” words. She sang better in Act Two.

The first ensemble number in Act One had an awful sound quality with thumping and scratchy noises. This was not up to scratch for a $130 ticket in C Reserve.

The lighting was very clunky and very haphazard in its approach. Sometimes the lighting created terrific atmospheres and then seemed incongruent for the next scene as the mottled lighting for a ball scene continued. The church wedding lighting was appropriate.  The final duet between himself as both Jekyll and Hyde had lighting that nearly worked. It was more hit and miss and seemed like a technical dress rehearsal. Tomorrow night in Melbourne should be smoother - I hope!

The Melbourne Symphony Orchestra led by Vanessa Scammell was brilliant playing the Frank Wildhorn score.

Director, Chris Parker used semi staging in this concert production with a desk, chaise lounge, stairs and a raised walkway. Five chairs and a speaker’s podium were also used. Minimal props were used effectively.

A single Victorian light hovered overhead on stage left near the staircase.

The ensemble singing was terrific though the microphones let down the quality of sound reproduction. In Act Two the sound quality for the ensemble was a lot better, but could still be improved.

There were some terrific performances by Martin Crewes as John Utterson and Peter Coleman-Wright as Sir Danvers Carew in particular.

The duo in Act Two between Lucy and Lisa left me numb as I know how rich this song should sound emotionally. Lucy was better than Lisa in capturing the emotion. I felt it lacked the emotional connection as I have cried many times listening to the recordings.

The deadly tease by Mr Hyde with the conductor, Vanessa Scammel, drew lots of laughs from the audience that added some light relief from the tension.

If you thought it was Anthony Warlow who would star in this production, then his quote on page ten of the souvenir programme reveals what we were in store for:  “I said I’d love for Jemma to play that role. I think she deserves to at least have a go at it.”

Wow - Jemma Rix was amazing as Lucy. Even better than in “Wicked”. She also received lots of cheers and applause.

Mr Hyde lays motionless on the stage. Blackout. The audience rose to a standing ovation, but not a volcanic eruption like “Come From Away” on Broadway, as Anthony Warlow rose centre stage for his well deserved recognition.

Some of the minor characters provided adequate and superficial performances though were vocally secure.

I hope someone offers Anthony Warlow mega-dollars to film his performance with Jemma Rix as Lucy, Martin Crewes as John Utterson and Peter Coleman-Wright as Sir Danvers Carew.  

Jekyll and Hyde obtained an 8.5/10.

Note: We are so fortunate to have seen Anthony Warlow play Sweeney Todd and Dr Jekyll/Mr Hyde this year. An interesting note is both roles of Sweeney Todd and Dr Jekyll have a major love interest character named Lucy who gets killed by the titular roles.

It should have been a 10/10 but the lighting and sound microphones let it down.

A Requiem For Cambodia: Bangsokol, by Cambodian Living Arts, A World Premiere for the Melbourne Festival, Hamer Hall, Arts Centre Melbourne, Friday October 13th 2017

A Requiem For Cambodia: Bangsokol, by Cambodian Living Arts for the Melbourne Festival, Hamer Hall, Arts Centre Melbourne, Friday October 13th 2017

"A Requiem For Cambodia: Bangsokol", a World Premiere was presented by Cambodian Living Arts at the Hamer Hall, Arts Centre Melbourne for the Melbourne Festival on Friday October 13th 2017.

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

"A Requiem For Cambodia: Bangsokol", a World Premiere was presented by Cambodian Living Arts at the Hamer Hall, Arts Centre Melbourne for the Melbourne Festival on Friday October 13th 2017.

"A Requiem For Cambodia: Bangsokol" was going to be a special event for those who remember the tragedies in Cambodia or the film "The Killing Fields".  This performance was to honour the dead and did so with such grace and dignity that I had tears streaming down my face at the vision on the three split screens and the accompanying music and genteel ceremony on the stage.
Director Staging, Gideon Obarsanek has done a wonderful job in realising the depth of respect, honour and ceremony with "A Requiem For Cambodia: Bangsokol".  

The Hamer Hall looked majestic and prepared with white shrouds and instructions hung on the back of every seat in the theatre.  We were to wear these white shrouds over our shoulders as a mark of respect.  Donning the shroud felt ceremonial as to prepare you for this occasion.

The opening was a long parade of the entire cast and local residents from the Cambodian community (?) wearing white shrouds.  They each took a large stone and placed it downstage with all other stones.  Each group of musicians or singers would then go to their designated area.

Composer Him Sophy has created a moving tribute that is both respectful and uplifting of the human suffering and sacrifice.  Him Sophy has created a beautiful score that was played by the combined orchestra from Cambodia and local musicians.   The choral singing by twelve young people was rich in tone and emotion.  The harmonies were exquisite and were so healing and cathartic.  The final section was colourful and cheerful and gave hope after all of the suffering and pain.

Director, Designer and Filmmaker and Oscar Nominee, Rithy Panh created vision on split screens that showed many historical images that included so much death and destruction.  Images of abandoned buildings and remaining items gathering dust were equally haunting.  In fact these images of desolation and loneliness heightened the images of death as there were no people in these photos.  A wall of photos of individuals was created and exacerbated our grief and sense of reality.  Any of these people could be your mother, father,s sister, brother, auntie or uncle or a friend or colleague.

Rithy Panh also created images of hope and the future.  The colourful banners in the final section were uplifting and a joyful celebration of life.

Musical Director and Conductor, Andrew Cyr led the three separate musical ensembles, traditional Cambodian instruments, string section and the choir, to create a fusion of emotional depth and beauty.

The poetry in a libretto by Trent Walker is eloquent, meditative and simple in their clarity.  "Calm your anger, let it go" is one such healing phrase.

The audience were grateful and applauded with such enthusiasm for such a magnificent World Premiere work.

At the conclusion, many in the theatre sat and contemplated what they had witnessed.  People need time to understand what they had experienced.

Leaving the theatre each patron was issued with a small orange envelope.  Inside was a small photo of someone who had died.  My photo was of a family.  I immediately broke down in the foyer.  This simple gesture personalised the tragedy.  My partner suggested that we frame our two photos with the programme.  In fact, tears just rolled down my face in remembrance of that moment and for the Cambodian people who have perished and for their families left behind.

"A Requiem For Cambodia: Bangsokol"  will tour the world successfully and hopefully heal so much hatred.

"A Requiem For Cambodia: Bangsokol" obtained an 8.5/10.

The Inauguration, Taylor Mac, Hamer Hall, Arts Centre Melbourne for Melbourne Festival, Thursday October 5th 2017

The Inauguration, Taylor Mac, Hamer Hall, Arts Centre Melbourne for Melbourne Festival, Thursday October 5th 2017

"The Inauguration" by Taylor Mac was presented at Hamer Hall, Arts Centre Melbourne for the Melbourne Festival for one night only on Thursday October 5th 2017.

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

"The Inauguration" by Taylor Mac was presented at Hamer Hall, Arts Centre Melbourne for the Melbourne Festival for one night only on Thursday October 5th 2017.

"The Inauguration" by Taylor Mac was an event that the audience will remember for the rest of their lives.  Where were you on October 5th 2017?

The foyers were abuzz with atmosphere that has been missing from many Melbourne Festivals.  This event had people anticipating something special - and were not disappointed.

Thank you Jonathon Holloway and the Melbourne Festival team for inviting Taylor Mac to our festival.  What an event!

The show started about ten minutes late which was to be expected with such crowds and lots of people catching up before the show.

We met Rupert and his lovely wife Jackie in the foyer.  They are fantastic ambassadors for the festival.  We met Donna from New Jersey who wore a colourful and sequined USA beret.  She was so happy to be in Melbourne and wore this special beret from a friend of the producers.

The theatre was electric before the show.  I have not been to a Melbourne Festival event in 31 years with such excitement before a show.

The band had taken their positions and Taylor Mac made his entrance to thunderous applause.  He welcomed us to the show and performed the pre-show announcements and allowed phone usage on the proviso: "I don't mind, as long as you are not texting all of the time!

Jonathon Holloway came out in an elaborate headdress that he announced was to be auctioned at the end of the show for a good cause.

Taylor Mac  warned us that he is a performance artist and we may be uncomfortable and challenged.  His audience participation was so clever.  The first time he came into the audience and took a lady up on stage who became his backing singing for a song.  We had to join in later.

We did the shaming of others and outing ourselves to the song "Gloria".  Then Taylor Mac took another lady on stage for the "Gloria" section and highlighted how uncomfortable it is to be the centre of attention while he sang from the front row. 

This extended into a long play section where people over fifty were asked to stand up.  Those over fifty had to dance, but not yet.  Then everyone else had to stand up and they had to select a person over fifty to copy their dance moves.  Wow such fun!  Sometimes people knew who was copying them and other times it was like a voyeur was copying someone.  What a fun dance party.

Another time he requested that all blond men stand up.  He selected three and rejected one from the stalls as he only needed three for the next uncomfortable segment.  One man was made to be the horse and the other two sat next to him on a bench wearing Nazi swastikas.  He wanted to make this section as ridiculous as he sang "The Surrey With the Fringe On Top" from "Oklahoma".  This was very clever; especially the interaction with the two blond men sitting next to him.  He even had someone cheep like a bird from the audience to quieten the bird with the lyrics: 'Hush little bird".  One of the men on stage right really got into it with his actions and even took off his glasses (probably to protect them).  The long hair blond (was announced as a "wanna-be" blond!) and was made to put his head on his shoulder according to the lyrics.

Taylor Mac  set up various sections of the audience with different vocal instructions.  One section of the audience became the babies, while the other sections became: children, father's cooking, wives's complaining, and the cousins.  This was a set up for us to feel the empathy for refugees and new arrivals to a new country.  At times there was a cacophony of sound.  I think this was done to Irving Berlin song "All Alone".

Nina Simone song "Mississippi Goddam" and spoke about how she could not sing but how she would express herself through her music.  He is the same as he brings out something special in the lyrics.  Every song is chosen for a reason.  It is our choice whether we like him or not.

Taylor Mac  introduced part of the finale as if a "prom night".  He asked if we have a "prom night" and received various mumbled responses from the audience.  He responded with gibberish and mumbles as well.   The final was like a "prom night" finale with lots of close and slow dancing.  This was a memorable and magical event.

Taylor Mac  announced his final three songs and an encore.  He even said that there is a black out and an exit and did not bother with them.  He just went straight into a beautiful encore of  Ted Nugent song as he got us to hug someone of the same sex.  I got to hug my partner.  Taylor Mac  suggested a third person could join in as there may be different groupings of people.  He was so aware of not leaving anyone out!  Taylor Mac demonstrated with a man from the front row the next phase was to be a closer hug - but no groping as his demo-man did to him.  My partner invited Jerry who sat in front of us to hug together.  It was very special because of the significance of the theme.  You could not leave anyone out - as everyone was to take this journey collectively.  I looked around and everyone in the audience was captivated by Taylor Mac.  If only the world was this happy!

Every song had meaning and purpose and was carefully selected for "The Inauguration".   Each song had a cultural significance with social change. This show was a teaser for his 24 hour marathon.  Oh this year's festival is a tease as there is so much material to try to see.  We are being spoiled for choice.  

Taylor Mac   is the personification of HOPE!

Taylor Mac  is a genius and "The Inauguration"  obtained a 9/10 from both my partner and I.  Sheer brilliance!

Lady Eats Apple, Back To Back Theatre, Hamer Hall, Arts Centre Melbourne, Melbourne Festival, Wednesday October 10th 2016

Lady Eats Apple, Back To Back Theatre, Hamer Hall, Arts Centre Melbourne, Melbourne Festival, Wednesday October 10th 2016

"Lady Eats Apple" by Back To Back Theatre played at the Hamer Hall, Arts Centre Melbourne for the  Melbourne Festival on Wednesday October 10th 2016

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

The doors opened at about 7.55pm and the performance started at about 8.13pm.  The Melbourne Festival brochure stated the show went for an hour.  The email received a few days before the performance and the programme stated the show went for one hour and fifteen minutes.  Well it went for an hour.  But if you include the time from when the doors opened then it was one hour and fifteen minutes.  Pedantic! Yes as one actor held up a sign stating "The show is about to start" at about 8.13pm.  I do not feel cheated by time but the inconsistency as the programme surely was printed more recently.

We entered via a back entrance past the dressing rooms.  We then entered the theatre via a blown up doorway resembling female anatomy.  We were instructed that the easiest way to enter was with both hands.  I did see a gentleman enter sideways which was more sensible.  This entry was single file and fun.  I now realised that our tickets were GA for General Admission as the numbers on the ticket were weird.  I thought they were using a code or mathematical pattern as our tickets were exactly double GA81 and GA162.  We ended sitting up in the back row and had a good overall view of the experience.  It was interesting at the end of the show to look down the sides of the tiered seating to see where the Hamer Hall stage and the stage entrance doors were located.  The tiered seating challenged our perspective and reminded me of the Peter Brook's production of  "The Conference of the Birds" at the old HSV Tele-theatre (Regent Theatre) in Fitzroy in about 1980 that used portable tiered seating.  Mind you this tiered seating was safer than at Fitzroy!

Each audience member wore a set of headphones and were instructed to ensure the cord was on the left hand side.  The sound quality was terrific in stereo and at times the actors appeared as if they were next to you or behind you.  Many audience members had the same experience of checking over their shoulder to see if the sound was coming from behind them.  The sound quality was sensational.

Act One was called "An Insecure God" with the introduction of a God like character and lots of animals being projected onto the screen.  It was a bit like Noah's Ark and full of mythological references.

Act Two was called "Matter Creates Matter" and I assume began when the black inner shell of fabric flew away to reveal a white shell of fabric.  This sequence of darkness and light appeared to be the evolution of the universe.  It was very much like Stephen Hawking but went on for too long.  Yes it was thought provoking and it was very subtle what was happening, and needed more obvious direction/action to keep our attention.  Two people walked out as nothing seemed to be happening when in fact you had to look closely at what you could see.  With due respect the cast needed time to change into their next costumes and to reach their new destination.

Act Three was called "The Human Bond" and I think it began when the white outer shell was flown away to reveal the Hamer Hall's empty seats.   The view looking out into the Hamer Hall from the tiered seating was spectacular - we were put into the traditional configuration of the Hamer Hall and the performer's shoes thereby obtained the view of performers looking into the audience.  This view showed us the expansive empty audience seats.  It was as if we were looking into the universe with all of the stars and planets and here there these small people in the distance and we could eaves drop on their conversations.

It challenged our perspective of a performance and the cast were now cleaning the seating area on the second level.   We could hear their conversations and at one point I nearly jumped out of my seat as I thought Simon Laherty was standing behind me.

We sat on the Hamer Hall's stage on a portable set of tiered seating (which I learned was hired.   What a waste in some ways that they could not use the portable seating from the Fairfax Studio which I believe is still n storage in one of  the Arts Centre's rehearsal rooms.  

The last section was checking on the body of Brian Lipson who had lain on the main stage since the black curtain was flown out.

The lighting was effective but the most spectacular aspect was the sound with the fabric shells disappearing.

"Lady Eats Apple" should tour for the complexity of the skills involved in putting the work together.  The set design and operation is superb.  I am so curious where it will play overseas.  I could see it playing at one of the theatres at the Lincoln Centre.

This is a thought provoking piece of theatre.

Technically this show gets a 9.5/10.

Overall "Lady Eats Apple" received a 6/10

Voces, Ballet Flamenco Sara Baras, Hamer Hall, Arts Centre Melbourne, Melbourne Festival, Friday October 21st 2016.

Voces, Ballet Flamenco Sara Baras, Hamer Hall, Arts Centre Melbourne, Melbourne Festival, Friday October 21st 2016.

"Voces" by Ballet Flamenco Sara Baras played at the Hamer Hall, Arts Centre Melbourne on Friday October 21st 2016.

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

The performance started ten minutes late and was advertised as one hour and forty minutes.  Well it went for nearly two hours.  A bit too long.

"Voces" was choreographed for the Ballet Flamenco by Sara Baras.  Yes Spanish flamenco is proud, statuesque and poised.   Flamenco can also show other emotions of despair, love and longing.  But Spanish dancing is always arrogant, confident and self-assured.  It is showing off and demonstrative.  Sara Baras and her dancers accomplished this effortlessly.

Sara Baras walked out to warm her hands on a lamp like the "fire and ease" exercise from Michael Chekhov.  She warmed her hands not from the cold but for the fire and intensity that was to devour her performance.

Six screen panels were positioned upstage with a spaces between each screen. There was a white picture of a dancer in a Spanish pose, or a musician or singer on each screen.  As the show progressed one of the screens would be lit up and become the central focus during the performance.  Later these six screens would be turned around to reveal blank white screens for shadows to cast upon.

Choreographically "Voces" was too repetitive for the first hour.  This section could have been cut down.  Many in the audience jumped to their feet, and I too thought it was the end of the show.  It was a long three to five minute ovation and Sara Baras was deeply moved and held her heart in deep gratitude.  The man next to me looked at his watch knowing it was not the end.  I thought the same, though I was hoping for more variety.

"Solea" was performed and choreographed by Jose Serrano.  He is a proud, statuesque and masculine dancer.  He dances with precision and consideration.  His port de bras are not the Hollywood concert variety but pure classical Spanish arm movements.  He sliced the air with his broad port de bras.

Sara Baras performed a solo upstage and her shadow was cast upon the two central white screens. The lighting changed and as she moved downstage her shadow was cast on the next two screens making a total of four screens.  Finally further downstage her shadow was cast on all six white screens.

During the finale or encore, Sara Baras performed a series of heel rolls skidding across from stage left to stage right.  This was the equivalent of an extended pas de bourrees en diagonale in classical ballet pointe work.

The heel beats and complicated footwork appears as if nothing is happening.  Have a go yourself: try and do a double heel right followed by a double heel left slowly.  Then repeat this sequence getting faster.  Now try it for two hours.  Not as simple as some people think.  The timing and accuracy of all dancers was sublime. The  pure quality of the footwork was sublime.

There was a variety of costumes.  The men needed a longer tail in some routines as their shirts were falling out and compromised their strength by making them look like unkempt teenagers..  Oh for them to have Bridie's (Bob Murphy costumes) trick of creating a shirt with long tail or gusset that was held like a leotard with velcro.

The Hamer Hall, Arts Centre Melbourne was a great venue until the couple in the front row kept holding up their phones to take photos.  Our view of the stage was completely blocked at times due to their selfishness.  Sadly no ushers came to tell them to stop as it would have been distracting for the requisite concentration of the dancers and musicians.  

What a shame Sara Baras did not stomp her foot and say "Basta" or "stop taking photos or leave" in Spanish.  This would have upped the ante of her indulgence and probably received even more well deserved ovations.

I, nor our friends in the row behind appreciated  the iPHONE placed at the centre during the finale to film the show and audience from upstage centre.  Other audience members felt the same thing and this upstaged the dancing and audience members looked at each other in dismay.


By the way there was not a castanet in sight.  At least one castanet sequence should have been included in the programme.

Some people were disappointed that there were no surtitles for translating the singer or voice overs.  I agree as this distanced some of the non-Spanish speaking patrons.

More variety was needed in the choreography.

Ushers did not attend to the distracting photographers on mobile phones in the front row stalls.  The two selfish people in the front row raised their phones high and completely blocked our view of the dancers' feet.  W did have a very clear image of their mobile phone screen though.

I gave "Voces" an 8/10.  It would have received a higher score with more variety in the choreography and no front row cameras blocking our view.

David Bowie - Nothing Has Changed, Melbourne Symphony Orchestra, Hamer Hall, Arts Centre Melbourne, Melbourne Festival, Sunday October 16th 2016

David Bowie - Nothing Has Changed, Melbourne Symphony Orchestra, Hamer Hall, Arts Centre Melbourne, Melbourne Festival, Sunday October 16th 2016

"David Bowie - Nothing Has Changed" , Melbourne Symphony Orchestra, Hamer Hall, Arts Centre Melbourne, Melbourne Festival, Sunday October 16th 2016

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

I wrote the following on Facebook directly after the show:

"Imagine going to the Melbourne Symphony Orchestra and seeing the antics of the two women in the centre of the front row in the stalls. The house lights start going down and the dark haired woman decides to make a loud phone call. She continues as the opening singer, Iota enters the stage. The other woman, a blond, decides to take photos as Iota sings. Finally an usher comes to tell the blond woman to stop.
I know it was a David Bowie tribute concert but they showed such disrespect to the artists and to the other audience members. They were like the female Laurel and Hardy. I think I will call them Feral and Bog-anne. Maybe you have a better name for them.
By the way the orchestra and band were great. The singing was very ordinary with very flat notes. The best singing was by the two guitarists. The Age reviewed the previous night's performance."

"David Bowie - Nothing Has Changed" should have been better with the impressive Melbourne Symphony Orchestra.  The band were exceptional and sadly the singers did not live up to David Bowie's charisma or talent.  The opening number by Iota was his best.  The two guitarists Ashley Naylor and Davey Lane were terrific in their respective solos and stole the show.

Overall gave this performance a 6/10.