21 Chump St & Ordinary Days, Pursued by Bears, Chapel Off Chapel, Saturday June 17th 2017

21 Chump St & Ordinary Days, Pursued by Bears, Chapel Off Chapel, Saturday June 17th 2017

"21 Chump St" & "Ordinary Days" was presented by Pursued by Bears at Chapel Off Chapel, on Saturday June 17th 2017.

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

No attendant was selling programmes at the door to the theatre.  A jar sat next to the display of programmes and this is not responsible from a business and security perspective, and a poor show in welcoming patrons and customer service.

The programme lacked the song list.  Musical theatre fans relish being able to recall a specific song with a singer or a scene, rather than having to wade through the internet or a record collection to locate the name of a song.  The $5.00 price tag is affordable and of a much better quality than some other production companies.  However, where are Pursued by Bears's contact details in the programme?

An attendant should been monitoring patrons as they entered the theatre.  The curtain should have been pulled back for a safer entry for patrons.

No pre show announcement was made.  Pursued By Bears could invent creative ways to remind audience members to turn off their phones and no texting, photographs and recording etc.  This was another missed opportunity to prepare audience members for a special event rather than patrons idling sitting and waiting for the show to begin, and creating unnecessary distractions.

"21 Chump St" by Lin-Manuel Miranda tells a story from an episode of "This American Life" succinctly in fourteen minutes.

Byron Bache directed, with Clary Riven assisting, the three main characters with clear goals and intentions,  Both the direction and setting provided clear distinctions between most locations with the use of chairs, a television monitor and three cameras.   The sight lines were good from up the back as they did not play too close to the front row.  This is sadly a rarity in this theatre where too many productions get lost for playing too close to the front row of The Loft at Chapel Off Chapel.

Byron Bache's direction, was supported by the clean and simple Production Design by the capable and creative Sarah Tulloch.  Her designs reminds me of John Truscott's ability to create magic on a tight budget,  I am impressed with this young designer and enjoy her work.  It will be interesting to see how she develops with larger budgets.

The Lighting Design by Jason Crick was slicker than other productions, without some of the technical difficulties that I have seen in the The Loft.    Jason Crick's lighting designs provided a seamless distinction between locations.  The scenes behind the gauze curtain gave both a voyeuristic quality of intrusion to the journalist's interview, and the graininess of a television screen.

Lauren Edwards as the Narrator drew us into this short musical from her opening delivery to camera.

Olivia Charalambous was believable as Naomi, the undercover cop, who sang as reliably and beautifully as in other shows which she has performed.  She has an ability to engage with other performers to command our attention.  Olivia Charalambous created a clean switch between her school girl personae and the matter-of-fact and "part of my job" as cop when interviewed.

Jake Fehily as Justin Leboy was the gob-smacked youth who created an honest realism to his infatuation with Naomi.  His final singing was a bit off, but more importantly he transported me to his location with his emotional connection to a truth and an understanding of the consequences of his actions.

The scene with the cousins/druggies wearing beanies transitioned into the the school room scene. The police-woman played by Nicola Bowman should have had a simple hat or sunglasses to differentiate her character at this point.  Her physical actions as the cop did not define an authoritarian figure from her student characterisation. This scene was messy and lacked focus, and did not transform into the classroom scene effectively.

The cast sang well, though some diction was a bit dodgy at times.  The cast was backed up by an ensemble of Nicola Bowman, Kai Mann-Robertson and Stephanie Wood.

Musical direction by Caleb Garfinkel provided terrific support for the cast and filled The Loft with a wonderfully rich sound from a small band.

While watching "21 Chump St", with the use of the cameras and television screen, I realised that this capable company should consider doing "Nobody Loves You".  They could rework the ending to allow the for audience participation in the vote, which was sadly lacking in Second Stage's production in July 2013.  (Of course the outcome of "Nobody Loves You" is known - but with the audience participation it would be more engaging, and, could come across as either a true outcome or a rigged outcome.  This competent company could rework this work to cater for the "Big Brother" and reality show audiences.)

The story is succinct and compelling, though a little didactic.

My partner and I both gave Pursued by Bears' production of "21 Chump St"  a 6.5/10.

"Ordinary Days" was presented by Pursued by Bears  at Chapel Off Chapel, on Saturday June 17th 2017.

No pre show announcement was made.

Tyran Parke directed this fabulous cast of "Ordinary Days".   The four terrific performers were well cast for "Ordinary Days"  as each played definite choices that worked to create known New York archetypes. They transported me to New York locations that I know well.

With Music and Lyric by Adam Gwon, the score can be a bit monotonous until the final two songs providing a rich and uplifting ending.

The Production Intern, Kyra Von Steigler used sheer curtains to create a depth to the staging.  Four simple black set pieces made a New York skyline that turned into various other set pieces: including chairs or  a bed.  The Freedom Tower set piece was reconfigured with a simple door to become a closet and a telephone booth, while below was a storage cupboard.  This was simple and effective design.

Sadly, the sight lines were not good as they played many scenes too close to the front row.  It was very much like attending the NGV and trying to avoid the selfies and the heads of viewers.  I wonder how many directors consider the view from the seats further back with a full audience.  I have stated this in other reviews and it staggers me that playing so far down-stage in this small theatre continues.

Lighting Design by Jason Crick created various moods of New York:  with the opening back-lit skyline to an impressionist palette that supported the four characters visiting the  Metropolitan Museum of Art.  The simple lighting design also allowed for the height of an apartment building that reminded me of a simpler version of one lighting plot from "Spiderman - the Musical" (from the 17th August 2011 version!!).  The strewn pamphlets towards the end fluttering down also created a sense of height.

"Ordinary Days" reminded me in part of "On The Town" with the visit to the Metropolitan Museum of Art:  when Deb played by Nicola Bowman was determined to meet Warren and retrieve her notebook.  Deb doing her circuit of the Met trying to find her meeting point with Warren, reminded me of, and paid homage to, Erronius doing the circuit three times from "A Funny Thing That Happened On The Way To The Forum".  Deb's frustration and anxiety rose to humorous recognition for those what have been lost in the Metropolitan Museum of Art.

Joel Granger is a reliable and charismatic performer in the role of quirky Warren from his opening soliciting pamphlets scene.  He sang beautifully but was a bit flat in one of the later songs.  Joel Granger reminds me of the lead character from "Bradley Cole" that played the 2013 New York Fringe.  Joel Granger would make a wonderful Evan Hansen from "Dear Evan Hansen".  I hope this fine young performer is given the opportunity to show his capability.

Nicola Bowman was sensational as Deb with her desperation to recover her notes.  She mainly sang well and sadly was flat in a later number.  Yes, I was disappointed by this, but I was more impressed with her strong choices for her character.  Playing opposite Joel Granger they created some terrific moments of awkwardness and tension.  Warren overstepped Deb's physical boundaries innocently adding to the humour.

Joel Granger as Warren helped open up Deb's eyes to the world and to herself.  We saw a lovely realisation and transformation in Deb as Warren gradually showed her how to see possibilities.

Mathew Hamilton played Jason and sang beautifully.  He has a gentle command with his stillness that demanded we listen to his story.

Brittanie Shipway as Claire has a sensational voice with a rich tone.  Claire invited us to witness her inner thoughts and emotions and realisations: ranging from detached to trapped.  Clarie's warmth to Jason grew to coldness that created tension from early on.  Jason was intruding upon her space and memories. Remember this young lady's name - Brittanie Shipway - for her final solo was sensational.  Repeat - sensational as it was full of drama, despair, realisation and hope.

The small band played well under the musical direction of Stephanie Lewendon-Loew, though the piano dominated and disturbed the balance.

I would have been content had the show finished with the final throwing away of the pamphlets from up high.  The final scene  seemed like a coda to provide a neat and tidy conclusion.  Both my partner and I were more satisfied with the possibility rather than the proposal and the revelation of the Jason and Claire finding a pamphlet.

The exit by the audience was a lovely touch as audience members were able to select one of the strewn coloured pamphlets from the stage.  This simple souvenir is your personal reminder of the show and was a great idea,

During the show, two audience members had to attend to their phones and made hasty exits from the theatre and walked straight across the stage.  It was so New York as they drove their way through the stage to reach the exit!  One of the cast members had to restrain their shock.  If there is an emergency - do not attend!  I say this one young lady was on her phone before the show and right up until the show began.  It was very distracting and sometimes a emergency means giving up going to the theatre.

I love Pursued by Bears for their dedication to musical theatre and providing young performers with opportunities, and fans with rarely performed works.

I would love to see this fine company tackle the off-Broadway production of "Death Takes A Holiday" from the Roundabout Theatre.

If you missed out on these two fine productions - tough titties.  You will not want to miss their next show.  They are such a great company.

The Alex Theatre in St Kilda should be enticing this company to their venue as they have much better sight lines.

My partner gave Pursued by Bears  production of "Ordinary Days" an 8/10 while I gave it a 7.5/10.

The Gathering, Vic Theatre, 45 Downstairs, Thursday December 8th 2016

The Gathering, Vic Theatre, 45 Downstairs, Thursday December 8th 2016

"The Gathering" was presented by Vic Theatre in Association with Kin Collaborative Inc at  45 Downstairs on Thursday December 8th 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.

Buying tickets for the "The Gathering"  was easy though I nearly missed it and only realised due to the Herald Sun article on Tuesday November 22nd 2016 that it was a new musical.  I love to support new Australian works as does my partner.

The tickets are reasonably priced and thankfully offer discounts for M.E.A.A. members as many venues do not offer such a discount.  My partner is a senior and could not obtain a discount as he is not a pensioner.  We are not complaining as we like to support young talent of such a good standard.

The boss office guy is always such a hoot and has so much personality and really brings a welcoming vibe to the 45 Downstairs venue.

Waiting in the queue I observed the poster and the flyer for the show.  A striking image that makes sense after seeing the show.  The poster reminded me of the "iceberg theory" image and the underlying tensions or background stories of the characters.  The dates are shown on the reverse of the flyer but not the year.  Historically I want a record to recall this show was in 2016 and they need to be on the posters and flyers.

"The Gathering" was suitably staged on this steamy summer night as we learnt that this was the time and setting for the show.  We arrived just before 7.30 pm as the traffic was so bad.

Signs with large print were displayed on the walls asking patrons to turn off their mobile phones.  A great touch though sadly some audience members had to be "Twanking" right until the show began. The older gentlemen on stage right was the worst and continued to do so during the opening song. How rude of him as it is so distracting.

Sadly programmes had sold out.  MMMMM "Not happy Jan" as I like to read about the show and get some background of the performers before I watch a show.  I enjoy recognising different performers or creative talent to be able to compare and watch their growth in the industry.  I like to keep all of my programmes in chronological order with any newspaper articles and brochures as a holistic collection for theatre history.

After the show, I was pleased that the box office guy introduced me to two of the producers and one offered to email me a programme.  "The smallest action is better than the biggest intention".  I was most impressed as he saved me having to ask if he could do so.  That is what I mean - so many people put young people down -but these young adults have such insight into how to progress their careers. They really appreciate that the next conversation could open up doors for them.  That is what I really admired about Joel Granger when we bumped into him at "Reefer Madness" he introduced himself after we congratulated him on his work in "Titanic".   We were so pleased to learn that he was to be in "The Gathering".

Sadly I have not received a copy of the programme and do not know if the song list was included.


Costumes by someone unknown were appropriate to differentiate each character.  The costumes in the chest were also important to support the story.


Note:  I never did receive a copy of the programme.


The following was copied from the 45 Downstairs website:

We took our seats and found some in the second back row of the central section.

Upon entry to the theatre I was hit with an immediate atmosphere created by the set and Joel Granger as Tom who was vacuuming the mixed carpet off cuts and dusting the table.  It reminded me of "Rent".

The stage reminded me of The Why Not Theatre in Carlton from 1975-1976 with the array of carpet off cuts.  It was a terrific segue in to the show to create the realism of his living conditions.  We, as the audience were like flies on the wall.  I did not want to walk on his carpet to get to our seats as I felt like I was invading his space.

I used the cast list from the 45 Downstairs website and the Vic Theatre website as my references when trying to complete my notes.  I have copied the cast list from the 45 Downstairs website at the end of my notes.

Set design by  (insert name here)  involved a round table, chairs and an esky centre stage.  On stage right was a large recliner type chair and a tall lamp stand.  Upstage were boxes and various items. The set design was appropriate for the venue and for genre of the show as it immediately set the tone for a new arrival to a grungy apartment.

Props by (insert name here) were mainly bottles, paper cups, boxes and cases.  Mobile phones were used as torches reminiscent of "Hernandos's Hide-a-way" from "The Pajama Game". The props were used realistically within the constraints of the set and the story.

Direction by (insert name here)  was adequate though the depth of characterisation and interactions between the characters was limited by the script.  

The staging for the different locations was terrific and created simply by moving some furniture and enhanced by the lighting design.    As I write this I do not have the programme and assume someone was responsible for the choreography or movement direction.  The choreography or movement was appropriate for the show without being too razzle-dazzle.  Sadly I cannot name them to congratulate them on their staging.

Lighting design by (insert name here) created a sense of location and I appreciate the limitations of the venue.  The lighting was quite effective except for the final bonfire sequence which was a let down because it was meant to support the story.

The book needs work but is very promising. I have seen worse scripts presented in development at the New York Fringe and on Off Broadway.

Performances were quite good while some stood out.  The gay guy in black and the hippy girlfriend both had a solid characters throughout.  

Joel Granger's Tom was suppressed and I longed for some backstory interaction with his foster sister or friends to create more of a build-up.   At the two performances of "Titanic" we attended  his singing was sensational, while he hit a few bung notes in "The Gathering" he kept his emotional connection to his character.  He did not flinch and this created a reality to his character. I enjoyed his contrast in his restraint to his impulsive displays of fight and flight (save the staging of the fights).  He made the most of what he had to work with, though I yearned for more from the script and score to showcase what this fine performer is capable of.  He is capable of taking it to another level.

Tom's male friend Joe was played by Daniel Cosgrove and had a more Ocker strine to his voice and was not as secure in his singing.  His connection with girl friend Daisy played by Hannah Sullivan McInerny was quite strong in creating a bond that would eventually break.  Their interactions and reveals in the "Secret" sequence were the most realistic and created the much needed tension.

The fight scenes were very twee and needed more tension in the movement direction to show us the relationship history of the characters.  The pushing and shoving was childish, and any arguments were forgotten within ten seconds of occurring.  These spats needed more festering in both the script and the direction.  I know these writers could give more.

Hannah Sullivan McInerny as Daisy the hippy girlfriend. Hannah Sullivan McInerny was suited to the part visually and vocally. Her costume was appropriate and simple.  Ironically her alternative character seemed the most grounded in the production.  Her performance really stood out for me and it is such a pleasure to see how performers grow with each new challenge.

I have seen Olivia Charalambous previously in "Dogfight" and here she played Mia.  I know how meaty her performance can be with her depth of understanding.  Her singing in "The Gathering" was pleasant though her character at times jumped without any transition to her next action.   I think her performance was partially due to the jerkiness of the script at times.  Her scene when finding Tom revealed what she is capable of as an actress who can be honest and truthful.

Tom's foster sister Kelly was played by Shannen Alyce Quan was a strong, confident and assertive young lady.  She sang well and her character seemed to lose some of the self assurance as the script progressed.  I yearned for a duet or a montage with her and Tom as youngster's growing up.  It would have been interesting to see the character's playing dress ups or "Secret" as kids to counter point the adult action.

The first entrance of the gay guy Luke was played by Daniel Assetta.  His arrival was unwelcome by Tom and needed more dramatic electricity and stand off.  Daniel Assetta kept this character flamboyant and consistent throughout.  He made the most of the script and I longed for more tension between him and Tom.  Maybe some backstory or time shifting interaction between Tom and Luke could have suspended the tension.

When Tom asked people to leave it was unrealistic from a script perspective.  It seemed corny and was too blunt in the writing. There was a lack of keeping people apart and any tension built up was immediately dissipated and as such made the scene fizzle.  With development the tensions could be built.

The opening of the "Secrets" sequence lacked any build up and so I found it cringe worthy in the writing when the first two characters revealed their secrets.  There needed to be more hesitation, pause, courage, confidence building, trust and anticipation in this sequence.  This could have been achieved with a slower build up and musically could have been very interesting.   Nothing was at stake between the characters and no tension to keep us on edge. The actual secrets revealed by each character were appropriate - it was the linking together that seemed episodic and too much like a soap opera's tight 30 minutes structure.  It was as if I was watching someone scrolling through their Facebook page and dismissing the next comment by a character.  

The best aspect of the "Secrets" sequence was the reveal between the guy and the hippy girlfriend.

Music and lyrics by Belinda Jenkin and Will Hannagan and were not as bad as one reviewer stated. This is a young person's story and as such spoke in a language attuned to their ears.    Both Belinda Jenkin and Will Hannagan have an ear for the younger person's voice.

Diction could have been improved as some important lyrics were completely swallowed and we lost the logic or reason for an action.  My partner and myself could not work out a few of the lyrics due to the diction.  I wanted to understood some of the lyrics at times. 

At times "The Gathering" reminded me of "The Woman In Black" as horror play or film.  The sound effects used were haunting and adequate.  With more resources these could be made more disturbing. The interactions between the characters dismissed the sounds while this could have created more tension.  I longed to see the characters playing as children to counter-point their adult interactions.

I look forward to more work by Belinda Jenkin and Will Hannagan.  I do not know whether it is worth tinkering with "The Gathering" and sometimes you have to move on and let go of a particular work. If this work is any indication of what they are capable of - then I know they will deliver even more sophisticated works.  

The duet between the foster sister Shannen Alyce Quan (Kelly) and Luke was too long and was hard to understand the lyrics at times.  Maybe it felt too long due to the lack of diction.

The music was pleasant and it did not remind me of other show tunes rehashed.  This is important as usually I start recognising themes or songs from other shows.  The originality is a compliment. Though the music was not memorable and needed a stronger thematic thread, it is just off the edge of recognition and recall.

The staging of the finale reminded me of "Assassins" by MTC that was performed at the George Fairfax Studio.

The harmonies were good and I wanted to hear more of this ensemble's capabilities.

Oh yes remember our resident "Twanker"?  The older gentlemen sitting on stage right was the worst and actually had the audacity to check his phone about four times during the show.  He is lucky he was not closer to me.  I was not going to disturb these young people's efforts.  Then the old guy has to wipe tears at the end.  Really?  Did you actually watch these fine performers?  It was so distracting mate as I pay money to watch a show and not get the peripheral flash of your phone.  Maybe you were a part of the lighting design!

Thankfully the younger generation had the decency to turn off their phones.

"The Gathering" was presented with enthusiasm and was a terrific showcase of a work in progress.

The website for Vic Theatre is terrific in providing me with some information and I hope they maintain their knowledge base via their archives.  Sadly when I take the time to create these links many organisations delete the information down the track.  I hope that Vic Theatre maintains their archives as they are a company to watch for the future.

Overall I gave "The Gathering" a 6.5/10.  My partner gave it the same score.

Five years in the making, The Gathering is a new musical by Will Hannagan and Belinda Jenkin. Fresh from a development season at the New York Music Theatre Festival, it returns to Melbourne for an all too short season at fortyfivedownstairs.
The Gathering is presented with the support of City of Melbourne.
Cast
Joel Granger (Tom)

Olivia Charalambous (Mia)

Daniel Assetta (Luke)

Shannen Alyce Quan (Kelly)

Daniel Cosgrove (Joe)

Hannah Sullivan McInerny (Daisy)

 Co-Composers and Creators

Belinda Jenkin is a singer, actor and writer. She is a 2015 graduate of NIDA (Diploma of Musical THeatre). Before NIDA she also studied a Diploma of Arts in Popular Music and Performance and in 2012 travelled to New York to study at America’s Musical Theatre Conservatorium CAP21. She has performed professionally in stage and screen and written new works that have been presented in both Australia and New York.

Will Hannagan is a theatre-maker, songwriter and pop-cabaret performer based in Melbourne. Past works include, Gaga V Assange, Affluenza, Pop Press and Until Tomorrow. His works have appeared in numerous festivals and abroad. He holds a degree in English and French from the University of Melbourne.

Titanic - The Musical, Stage Art, Chapel Off Chapel, Sunday July 10th 2016

Titanic - The Musical, Stage Art, Chapel Off Chapel, Sunday July 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.

James Cutler the director has created a superb version of "Titanic - The Musical" by Stage Art, at Chapel Off Chapel.  "Titanic" was the 1997 Tony Award winning Broadway musical.  I had tickets when it was being staged in Melbourne after its Sydney season did not tour.  I have seen footage of the opening number on Broadway and was eager to see how they would stage this musical with a reduced cast playing multiple roles.

Well I came home and bought tickets for another viewing it was so good.  My comments of the second viewing are at the end of this review.

The set was a raked stage with an ocean of space to allow for entrances and exits.  The chairs were brought on in the first scene and placed on either side as in a Greek chorus.  We too are the voyeurs and observers of this tragedy. Set design by Simon Coleman, Robbie Carmellotti and James Cutler provided us a floating stage to create depth for both the different class of passengers and when required for the ocean.

The main thing I did not like was the lack of clarity in the projections.  These projections reminded me of the entrance hall to the "Titanic" exhibition both in Melbourne and to a lesser extent the shorter hallway used in the Las Vegas version.  In these exhibitions there was clarity with the projections and the times but in the theatre they were sometimes hard to see against the white outline of the ship's portholes etc.  The second viewing consolidated these thoughts.

The lighting by Giancarlo Salamanca created the haunting effects required to build the tension.  The blasts were simple and effective.  The second viewing confirmed the simplicity of the lighting design to emphasise the emotional tragedy.

Sound Design by Marcello Lo Ricco created such realistic sound effects and reminded me of "Sensurround" used first in the movie "Earthquake" in 1974.  The first time the sound effects are used made the audience all sit up and take note, as they did on the second viewing.

Costume design by Lucy Laurtia imbued the period, though some of the characters did not look as polished as they should - with some ill-fitting uniforms for the male cast.  The ill fitting uniforms were more noticeable on the second viewing and detracted from the quality performers ability to hold their credibility.

I had tears rolling down my face during the farewells and loading of the first class passengers scene.  The truth and sincerity of these actors was breathtaking.  See below for my note on the second viewing.

Musical direction by Kent Ross was terrific.  The singing was melodious and rich as the band played superbly.  There was maybe one or two bung notes in this hugely sung through musical.  The harmonies were sensational and when the whole cast sang - the harmonies were rich and sublime.

The opening number had the passengers come in via the aisles.  This created a sense of excitement as we could only just see them, as they were trying to see this new liner.  Plus the aisles were dressed with ropes and luggage to provide the audience the experience of boarding the liner too.

The hitting of the iceberg left me with a shudder.   The second viewing had me watching how the cast created this moment. 

The "Wake up" announcement to each class of passengers was stirring - with  Henry Etches (Christopher Southall) and Adam Di Martino as a Bellboy on either side of the stage moving to each cabin.  Their door knocking did not have the humour of "The Book of Mormon"!  These superb performers were doing their duty to rouse passengers and also to keep calm.  Their disquiet created superb tension.  This built the tension for the final farewell hug with the captain.

The Third Class (or rats) were caged animals and the use of cast to create a barrier both physically and with four chairs was visually confronting.  The second viewing had my attention more as how the director drew our attention so quickly from the First Class passengers to the Third Class.  This was such a clever and simple transition that has me in awe of James Cutler's skill.

Some of the chairs were used to create the lifeboats.  I had tears rolling down my face during the farewells and  loading of the first class passengers onto the life boats during "To the lifeboats/We'll meet tomorrow".  There was honesty in the depth of respect for these characters by the actors.  The truth and sincerity of these actors was breathtaking.

The boats were lowered.  The wailing and crying was truly disturbing.  The lifeboat sailed away by means of the actors carrying their chairs and solemnly filing across downstage and out into the foyer. Another simple and powerful device to transport us back in time to these historic events.

Three men were left standing on deck.    There was so much happening in this silence and stillness  It is probably the most powerful silence I have ever seen staged in over 51 years of attending theatre - you could hear a pin drop.  The stillness went on for a long period of time and the pauses between the three men's short dialogues were palpable.  They created an honest sense of futility and despair.  The cigarette smoking and trying to make sense of their final hours was gut wrenching.  My heart was pounding at these three men realising and contemplating their fate.

The (deck) chairs falling overboard into the moat around the stage created a sense of realism. The sliding and scrambling up the raked stage was so simple and desperate.  The hanging on to the sides of the ship and each passenger losing their grip and falling into the Atlantic was so simple and so effective.  It goes to show that good theatre does not always need expensive and flashy sets.

Choreography by Rhys Velasquez created a feel for the 1912 era with the dance exhibition/class and more attention to social etiquette of the period was needed.  The second viewing shows how appropriate Rhys Velasquez choreographed this sequence.  I still agree that some of the social manners needed refinement.

The acting and singing overall varied, which highlighted those who had a more detailed characterisation.   One of the stand out performances included Don Winsor as Thomas Andrews the engineer who commanded our attention.  

Casey Withoos as Alice Beane desperately wanted to be in First Class while embarrassing her husband Edgar Beane played by Harley Morrison.  Both these fine actors worked well to create tension in their relationship, including their separation.

Henry Etches was played superbly by Christopher Southall.  He was respectful of his duties and his position to the end.  

Joel Granger as Harold Bride, the radio operator was sensational in his portrayal of the various dramatic levels of this role.

Paul Batey as the Captain E.J. Smith sang with his rich baritone voice though need more physical authority in his demeanour.  Sadly his uniform was ill fitting which is unforgivable by the costume department.

The three Kate's worked well together and provided lush female harmonies during "Ladies Maid".   They emphasised the hopes and dreams of new immigrants with sincerity and no hint of sycophancy. Their honesty highlighted the complex contemporary issues of boat people. 

Adam Di Martino as a Bellboy sang beautifully during "Wake Up, Wake Up" with Henry Etches played superbly by Christopher Southall.  His farewell hug with the captain left me with a lump in my throat at both performances highlighting the fragility of youth.

James Brown made a marked impression as William Murdoch.  His final scene was simple and theatrically strong with the use of the chairs to make a sound effect and the illusion was stylistically disturbing. His exit was into the lit aisle - as if meeting his maker.

Sam Bennet provided depth to his performance by visually and vocally differentiating his various characterisations.  His attention to characterisation detail is admirable.

Some of the characters were two dimensional for example Lady Caroline played by Greta Sherriff as she was too busy physically. This stood out against her lower class boyfriend who appeared more physically First Class with his stature and demeanour.  If the director chose this clashing of cultural backgrounds - I am afraid it did not work.  The Lady Caroline character needed more stillness.  The second viewing saw a more composed Lady Caroline.

Some of the posturing prior to beginning a song was a little contrived rather than characters physically flowing into songs.  There is a marked difference with those characters who needed to physically prepare a singer's stance rather than using their character's physicality.  This was less so on the second viewing.

There were very few props with the luggage, trunks and cases carried on and left upstage to create a sense of atmosphere.  A bell was used while a turned up suitcase was used for the Marconi morse code radio machine. .  All other props were mimed - of which some made sense but there needed more attention to detail when glasses or canapes were on one tray, and how glasses suddenly disappeared.  Some of the miming was clear and at other times bizarre and weird.  For example all of a sudden a glass would disappear and not be put down.  More attention was needed.

An odd choice was the use of four different angles for the radio/telegraph room.   Firstly, we were introduced to Harold Bride played by Joel Granger  using two trunks to create a desk en-face. Secondly he was sitting with the two trunks sideways to the audience covering his left ear.  Thirdly during the look-out scene Harold Bride was singing a duet downstage centre with Frederick Fleet played sensationally by Alex Thomson. Finally Harold Bride was sitting in the moat on stage right with a spotlight focused on him.  Maybe this choice was to show his position compared to where the captain was located.  But here he was lost amongst the action - albeit I am grateful for the spotlight as I was searching for him during this scene.  I would be interested to see the later three scenes using the same two trunks en-face perspective for clarity and consistency.

The second viewing emphasised the side on perspective highlighted the listing of the liner.

The rich anthem "Godspeed Titanic" is reprised during the finale with marvellous harmonies.  The curtain calls were simple and very enthusiastically cheered and applauded by the appreciative audience.   Sadly a few front row audience members could not wait for the cast to clear the aisle before they left.  Thankfully the second viewing had a more respectful audience.

I was disappointed that a young man in the centre of D Row turned on his mobile phone while the band were finishing the show in darkness.  This was not only a d lighting distraction but this young man missed the poignancy and accuracy of this immortalised band - playing to their death.

I wrote the following on my Facebook page immediately after the first viewing:

We saw "Titanic - the musical" and have waited since 1997 to see a production in Melbourne.  It is so good we are going again.  Already booked our tickets.  The staging is so simple and effective with the small orchestra placed in the centre of the raked stage .  The raked stage is haunting as we know how it all ends.  The way they use the chairs is like how they used them so creatively in "The Three Lives of Lucie Cabrol" by Theatre de Complicite.  Terrific singing, acting and staging.  A highlight for the 2016 theatre season.

Our second viewing:  "Titanic - The Musical" , Stage Art, Chapel Off Chapel, Saturday July 23rd 2016 we had exactly the same seats.  Overall watching the musical again gave an opportunity to savour the good aspects of this production.  The particularly clever aspect was watching the use of the chairs in every scene that made more sense.  I think some reviewers need to see a show a second time in order to understand the depth of thought that went into the use of these chairs.  

Sadly during the long opening a man in F Row on the aisle kept playing with his mobile phone.  It was so distracting from my peripheral vision I jumped out of my seat at the end of the opening and signalled to him to turn it off.  The audience members gasped that I did this but I am sure were appreciative that he would no longer be flashing his large screen.

Another sad moment was the falling down the stairs of Casey Withoos who played Alice Beane opposite Harley Morrison as Edgar Beane.  They had just completed an emotionally charged scene with sincerity and poignancy.  Her fall down the stage right stairs added to the drama.  The stage manager called "Stop" and they checked on Casey Withoos to see that she was all right physically and emotionally to continue.  Casey Withoos was embarrassed and curtsied acknowledgement and thanks to the thunderous round of applause. This fall shows the potential danger that performers are subject to at every performance and the potential distractions of mobile phones flashing in the audience.  I do hope that Casey Withoos is physically and emotionally okay as she gave a terrific performance on both viewings.

Lady Caroline was played Greta Sherriff with less posturing physically and more naturally a First Class passenger travelling in Second Class.  Charles Clarke was played by Mathew Hyde with at least three different accents at this viewing.

The final scene with Isidor and Ida Straus was played more tenderly and affectionately by and Barry Mitchell and Amanda Stevenson.  This time they had more connection to their 40 year relationship and I had tears rolling down my eyes at their honest love and concern for each other.  Their final interaction with the stoic Etches was played reliably and consistently by the Christopher Southall. This young man is a force to be reckoned with and I look forward to seeing more of his artistry.

The loading of passengers onto the life boats was equally moving as the first viewing, but I winced to try to work out what was different this time.  I thought there was one man short on the life boat and I think J. Bruce Ismay played by Jon Sebastian missed this life boat as I recall thinking "Where is Ismay?"  My partner had the same thought when we debriefed after the show.

The couple's farewell with the baby was very moving.  This was played as well on both occasions by Alex Thompson and Rosabelle Elliott.  I remember the cries and despair of the cast - especially the wails of Molly Fisher  as Kate Murphy and the desperation of Alice Beane played by Casey Withoos. Very moving.

On this second viewing I grew to like the various locations of the radio room as when the ship was listing, the sideways perspective added to the visual tension of the Titanic sinking.

Paul Batey played the Captain E.J. Smith with more authority on this viewing.  The ill fitting uniform for the Captain took away from his authority.  Though Paul Batey is not physically accurate to the more rotund actual person he sang with great aplomb.

Overall I thought the second viewing provided an opportunity to see how robust the staging stood.  I do not think that James Cutler the director wasted a moment of directional opportunities given the designs.

The first viewing received a 9/10 while the second viewing received an 8.5/10 due to few inconsistent performances.

Note to Stage Art producers:  Please honour the discounted offer to "The Colour Purple' for all performances as the card had no restrictions on dates.  Next time please make sure you put restrictions on any advanced booking offers handed out by the ushers.