Hairspray. John Frost for Crossroads Live, The Regent Theatre, Wednesday September 7th 2022

I had seen "Hairspray" on Broadway in 2008 and the David Atkins' version at The Princess Theatre, Melbourne in 2010.  I will compare my experience in Melbourne.

I have seen the John Water's 1988 movie, "Hairspray" many times and cry at certain gut-wrenching moments.  I have been moved to tears watching the 2009 movie musical "Hairspray" starring John Travolta and the live television version.  The story is still relevant with its serious themes of racism, segregation and inclusion.

We had front row stalls seats at The Regent Theatre and this proximity revealed some very interesting and disturbing insights.

Congratulations to the newcomer, Camel Rodrigues who played Tracy Turnblad.  She was not helped with an absent sound support from the onset of the show.  The sound quality was appalling.  The clunking sound of the microphones resonated in the speakers about 1.5 metres from our seats.  

Camel Rodrigues played Tracy Turnblad with requisite naivety and innocence, and fire-in-her-belly for equal rights.  

Shane Jacobsen as Edna Turnblad did an adequate job with sincerity.   Usually, this role is taken by a drag performer and here tradition was broken by casting Shane Jacobsen.  His singing was average but so is that of many others who have played Edna.  I thought it was a great marketing move as Shane Jacobsen is iconically Australian and blokey and loveable.  He imbued his adorability into Edna.

Todd McKenney as Wilbur Turnblad sang well and had a great rapport with Shane Jacobsen.  I felt his accent changed and he lacked the eccentricity of Wilbur.

One highlight was the duet "(You're) Timeless to me" between Shane Jacobsen and Todd McKenney.  It is a traditional vaudeville show stopping number and allows for some improvisation.  The audience loved the pauses for any possible kiss.  On Broadway I felt this was less hammed up and had more of a poignancy and tenderness that made it more emotional. 

Donna Lee as "Female Authority Figure"  Hello!?  She played what was listed as the role of on the IBDB (Internet Broadway Data Base) as "Prudy Pingleton, Gym Teacher, Matron and Denizen of Baltimore".  I thought Donna Lee played each role with distinct characterisations, in particular her physicality in her gait and stance.  I was saddened that each of these roles was not acknowledged in the programme.

Brenda played by Sienna Embrey captured the journey of her character from her first appearance to her exit.  She played the pregnancy aspect with subtlety and sincerity.  It is a small role, and she made the most of it.

Asabi Goodman played Motormouth Maybelle and had a clear powerful voice.  She had an approachable warmth to her character.  It is a pity that she was not supported with the required atmospheres by the ensemble to back her up.

During the record shop scene in Act Two, after when Motormouth Maybelle sang "I knew where I've been", focus was pulled away from her by the antics of three performers upstage right.  This trio were having a joke and created a wave of giggles.  One hid behind their prop suppressing their laughter.  The ripple of giggles continued along to centre stage.  Focus pulling is also called "upstaging".  I could be more specific as to who, but I shall refrain from doing so!

During the final scene two lead performers broke character and had a great laugh downstage right.  They reverted back to their character!

Also, during this final scene two others on downstage right, within three metres of our seats, were having a great little chat!  There is a difference between improvising and having a good old chin-wag!

These moments reminded me of "Head Over Heels" at the Hudson Theatre on Broadway with a very undisciplined ensemble on the evening of our attendance.

Avanda Dlada as Little Inez had a measured performance with the right amount of innocence and hope to warm my heart.

Mackenzie Dunn played Penny Pingleton.  I feel character was not fully developed and she is a fine performer.  I have seen this role played many times and Mackenzie Dunn made decisions for her interpretation of Penny.  My partner missed the point of her inability to hear the bell during the song, "I can hear the bells".    The ugly-duckling version of Penny needed more dorkiness and nerdiness in her posture and voice.  The transformation from ugly -ducking to swan needed greater definition with posture, voice and characterisation; as a costume change was not enough.  Maybe consider finding the “centre” physicality for the character and move from this centre.  I write very specifically for you, as I think you deserve an explanation of to why - you need lots of encouragement for a great career - to not be just good - but to be great!

Javon King as Seaweed J. Stubbs was extremely likeable and compassionate.  I loved the sincerity of his performance and his characterisation.  He worked well with Penny Pingleton played by Mackenzie Dunn.  I loved their rapport and they did not ham it up.  They both played a truthfulness that won me over.  

Sean Johnston as Link Larkin had the requisite smoothness.  Though his character needed more physical and vocal discomfort of supporting "negro day" (the 1962 term).  He sang well and played opposite Tracy Turnblad (Camel Rodrigues) with warmth.

Some performances lacked a distinct nastiness and divisiveness regarding race or weight.  Attempts at these issues were by many of the cast as pedestrian, wooden and shallow.    These important issues felt dumbed down or played in an apologetic manner.  The sense of invasion-of-space and "perceived-superiority" were lacking.  This was most evident in the gym scene, and the television studio and the record store scenes.

Some of the best moments were by the members of the ensemble who were focused and gave their 100%.  I do not know these performers personally and want to thank them for their professionalism:  Joel Granger and others.

The Original Direction by Jack O'Brien was reproduced by Matt Lenz.  The atmospheres for each scene need closer direction to ensure all the cast and ensemble understand what they contribute to each scent to drive the action, and to support the themes, and the story.  Ensemble atmosphere work is required to regain focus and concentration.  Comedic timing was off for most of the performance.  The audience were not flat and quiet - it was for a reason.   It was some of the lacklustre performances!

The Original Choreography by Jerry Mitchell was reproduced by Dominic Shaw.  Part of the choreography is the cheesy-smiling faces, especially when on "The Corny Collins Show".  My suspicions were validated when a few of these performers barely cracked a smile while the others played their over-the-top smiles with the required level.  These performers went on to "walk" or "mark" their performances with the least amount of effort.

The finale had the desired high energy that should have been evident throughout the show.

The contrast between the performers, who danced the choreography and those who "marked" the choreography with minimal effort, was obvious.  No, blatantly obvious!

Singing and harmonies very ordinary for most of the show.  The best harmony was during the soprano backing Motormouth Maybelle during "I know where I've been", and the four men backing with their harmonies with their precise gestural actions.

Musical Direction by Dave Skelton led the band with aplomb.

Sound Design by Steve C. Kennedy and Andrew Keister was very clunky and unlike the clarity I had experienced on my Broadway viewing in 2008.

Set Designs by David Rockwell were recreated well for the Australian season.

Costume Designs by William Ivey Long were recreated with flair.

Lighting Design by Kenneth Posner was well executed. In particular the back lighting for the shadow scenes that play homage to the "Bye Bye Birdie" scaffolding set for "The Telephone Hour".

The famous opening vertical bed scene reminded me of "Poppy" by Graeme Murphy for the Sydney Dance Company.  The dance work was the first time I had seen a bed used this way on stage.  

The production lacked the divisive prejudice theme.  The cast seemed to be walking on eggshells with the real theme of prejudice and segregation. 

I did not feel any compassion for the plight of the segregation that I normally felt with all other productions.

The show lacked the divisiveness and hatred and suspicion of racial prejudice.  The players seemed to be performing a homogenised version as if apologising.  By playing the reality of the ugliness of segregation and the hatred all make the themes resonate more to increase our compassion for equality.

Some of the performances barely made it over the orchestra pit! Heaven forbid if you were sitting in K row or beyond.

To the director, choreographer and producers please sneak in and see a show unannounced!  Also wear a disguise so no one in front of house can notify them backstage!  Please make sure actors stay in character!

The guy sitting next to me decides to pull out his mobile phone at about 8.15pm.  I thought he was checking the time and then proceeded to text.  I shielded the light with my programme, and then I requested he turn off the phone. He turned off the mobile phone thankfully!  "P-TOOL" is my mnemonic for "Please, turn off or leave!"

Sometimes, I regret seeing a show again as it spoils my other viewings.  I put this into perspective by trying to really appreciate the good moments.  So, thank you for those good moments.

My partner gave the show a 4/10 and wanted to leave at interval had I not been in attendance.

I gave the show a very generous 6/10 and that was mainly for the orchestra, sets and lighting and the performers I have highlighted.

Postscript:  I would recommend that Broadway producers consider the David Atkins' version in the future as a revamp for more technology savvy audience members. 

Double postscript:  Please bring back "42 Street" and also stage "Newsies" as it is a great show.  Also, "Murder For Two" is a great musical that should be performed by two highly skilled performers who can also play the piano.  It would be ideal for the Atheneum Theatre of The Comedy Theatre.

Prediction:  I predict Eddie Perfect will play "Beetlejuic" in Australia.  

NOTE:   Apologies as I have deleted any links as three of my previous reviews were deleted. They were reinstated when I removed any links. My links were purely for references.

Barnum, Comedy Theatre, Thursday May 30th 2019

Barnum, Comedy Theatre, Thursday May 30th 2019

"Barnum" was presented at the Comedy Theatre on Thursday May 30th 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.

"Barnum" starring Todd McKenney was presented at the Comedy Theatre on Thursday May 30th 2019.  

Todd McKenney was the major draw card and for most of the show was better than Reg Livermore in the 1982 original Australian production.  Though, Reg performed more sophisticated tricks on the tightrope than just walking, or attempting to cross the high wire once.

Todd's portrayal of P.T. Barnum was commanding and at times he broke the fourth wall with comments and asides to keep the show from being so dated.

Direction by Tyran Parke created a production with 14 instead of about 28 performers.  At times this worked to its benefit as the staging was more contained in a circus themed central ring with the grand stands ever present on the sides.

Overall, I preferred this production but with some reservations.

Namely, three performers were not of the calibre of the originals playing Tom Thumb, Jenny Lind and the oldest woman in the world.  Who will ever forget Wayne Scott Kermond, Mona Richardson and Deborah Winterburn playing these roles more effectively?

Set and Costume Designs by Dann Barber were terrific as they captured the tone of the show and era.  This was one of the best set designs that I have seen that was fully utilised.

Mostly the choreography by Kelly Aykers worked.  Though, I felt the opening number was not as dynamic as the original.  I preferred the finale here with less performers and more focused staging.  Kelly Aykers has utilised the skills of the circus performers to their maximum and thus created a wonderful circus atmosphere.

The opening prologue scene with the voice overs and hub-bub of noise and announcements was one of the best for creating atmosphere to a production.

The opening number then was a little bit of a letdown as it did not live up to the original 1982 production.

"There's A Sucker Born Every Minute" showcased Todd was better than Reg Livermore vocally, and acting and movement.

"Thank God, I'm Old" was well staged but not as slick as Mona Richardson.  The performances did not have the historical nuances that Mona delivered.

"One Brick At A Time" used a simpler set and had more effective staging with the use of the four roll-in-staircases.  The smaller stage looked fuller with less cast, than the emptiness of Her Majesty's Theatre with a grander set.

The "Museum Song" was fun and well staged, with terrific use of the building blocks to create the museum.

"I Like Your Style" was a lovely duet for Charity played by Rachel Beck and Barnum, Todd McKenney.  Rachel Beck was as good as Gaye MacFarlene in the original.  In fact, Rachel Beck and Todd McKenney created a more honest rapport and relationship than the original, with their chemistry and ability to listen to each other.

"Bigger Isn't Better" was too long and the performer struggled with some of the choreography and did not have the command of Wayne Scott Kermond as the original Australian Tom Thumb.  This 2019 Tom Thumb sequence went way too long and showed its age.  It could have been cut or added more staging to enhance the number.  The use of the wagon turned on its side to create Jumbo the elephant was clever and reminiscent of the era's "humbug".

Jenny Lind played by Suzie Mathers was adequate in the role in her rendition of "Love Makes Such Fools of All of Us".  At times this number was a little cringe worthy and showed the tiredness and age of the show.

Act One Finale had Todd attempting the tight rope walk four to five times.  He did not perform the more difficult tricks that Reg Livermore had performed.  For proof, see the inside jacket of the Original Australian Cast album of "Barnum".

Act Two opened with a warm-up act by two clowns and was superb in capturing both era and the essence of comedy to gain an audience's attention.  I loved this prologue as it was staged as pure circus.  The young group of people (teenagers) sitting behind us were mesmerised and laughed in pure engagement of the antics.

This group of young people were so well behaved and congratulations to them all for the respect of others and ensuring mobile phones were turned off.  They were a credit to their school or club or association - whatever that is.

"Come Follow The Band" opened Act Two proper.  The chorus sing was the most melodic for the whole cast.

The staging of "Black and White" was sensational on the fold down stage that reminded me of "Carnivale" and the side shows.  This was one of the better numbers, though I longed for Mona Richardson in the role.

"The Colors of My Life" (Reprise) was beautifully and poignantly staged.  It was lovely to hear the youth behind me emotionally connected to Charity's death scene.  This scene also doubly emphasised the relationship between Todd McKenney and Rachel Beck had more electricity than the original cast in 1982.

Todd's rendition of "The Prince of Humbug" was introspective and honest.  He was not as flashy as Reg and captured my attention.

I loved the "Join The Circus" with superior staging with only 14 people!  They held my attention and I could not take my eyes of them all.  Whereas, in 1982, so much was happening I did not know where to look and it was over-produced.  It was a different era.

The finale had a timing mishap when Rachel Beck tried to dress Todd in his finale jacket.  He made an aside "We were so close to the ending" he cried disappointed that he had let us down.  Maybe it was staged?  But from production photos, I think not.  He threw the jacket off to the stage left wings.  He held and demanded our attention, to the cheers from the audience.  What a showman!

The show is a bit dated but Tyran Parke, the cast and the production crew are all to be congratulated on a good production.

Overall,  "Barnum" obtained a respectable 7.5/10.