Moulin Rouge! The Musical, Global Creatures & others, Al Hirschfeld Theatre, Wednesday August 21st 2019

Moulin Rouge! The Musical, Global Creatures & others, Al Hirschfeld Theatre, Wednesday August 21st 2019

"Moulin Rouge! The Musical" was presented by Global Creatures and other producers at the Al Hirschfeld Theatre in New York on Wednesday August 21st 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.

"Moulin Rouge! The Musical" has Spectacular sets and costumes and the story telling was clearer than the movie. The show is about passion and love, but the show felt dead of emotion. It is a great show with lots of laughs and spectacle, but the show lacks any emotional drama and connection with the audience. I felt a slight of slight emotion once during the show, unlike “Fiddler on the Roof” in Yiddish or “The Prom” where my tears flowed.

"Moulin Rouge! The Musical" is thoroughly worth seeing for the spectacle.

Merchandise for "Moulin Rouge! The Musical" is not cheap.  The picture programme at $25 USD is overpriced.  Yes and you had to pay for a paper carry bag! Or you could buy the more expensive cloth bag.

Sadly, the programme lacks the song list.   So forgive me if I describe a song and you know the correct title. There is a list on the Moulin Rouge Wikipedia  site.  I am not cheating by going there for the songs as I want to describe what I saw and felt.

We sat in our two seats for $635.20 in the front row of the Mezzanine (we call it the Dress Circle.)  I had purchased them within the first hour of tickets going on sale.  This equated to $1068.91 Australian.  I knew that we would not be able to get tickets closer to our travel dates and if you are going to splurge on this show, then do it in style.  By the time we saw the show, our tickets were worth a lot more.

Sadly you could not see the front of the catwalk, nor the stage right alcove below.  I pitied the people sitting behind us as they too would not be able to see also.  For this price, or any price, the design sight-lines should have been given more consideration.

The exterior of the Al Hirschfeld Theatre is elaborately decorated to create the 1899 era.  Upon entering the theatre via security you are immediately transported back in time to 1899 with the decorations.

Entering the theatre you are blown away by the set and the characters on stage parading in their finery.  There is a mix of the aristocracy and the Moulin Rouge performers.  They move and tease the audience with their antics to create an atmosphere unlike many other shows I have seen. Gentle music throbs in the background to enhance the atmosphere.   Two female sword-swallowing performers seduce the audience's attention as the show is about to begin.  It is the most encompassing and immersive pre-show entertainment that I have ever seen.

Scenic Design by Derek McLane is pure Degas and Toulouse-Lautrec.  The Moulin Rouge  illuminated insignia hangs front and centre - not to be missed.  There are at least nine, yes nine chandeliers overhanging the audience.  Some are larger than the others.  

There is a catwalk at the front of the stage that reminds me of "Gypsy" the musical.  Scenery is flown in, as items truck in from the sides.  The central stage raises and lowers to create different areas with or without steps.  The set design is incredibly complex both in construction and application.  In fact the theatre design is so versatile and is a show within itself.

The Moulin Rouge illuminated sign rises to reveal a silhouette of four women.  Seven men watch and the four girls dance.

We are welcomed to the Moulin Rouge by our MC, Harold Zidler played brilliantly by Danny Burstein, as ladies parade.  

There is tinsel that reminds me of "Chicago" finale and also used in "Priscilla Queen of the Desert" and many other musicals.  Tinsel is a staple for the tantalising Moulin Rouge and is not over used in the designs.

Cymbals clang and celebrate the arrival of the Can Can dancers.  Six female dancers tease the audience in an explosion of kicks and skirt rolling.  The six becomes four white and four black Can Can dancers.

The opening is impressively showy and full on.  The opening makes a statement that you will not be disappointed.  It delivers.

The second big number is at 7.11pm.  Wow where is this show going?

Booths truck in from the sides.  They are lush, elegant and private.

We are quickly transported into the story line as we are introduced to the main Bohemian characters of Christian, Toulouse- Lautrec and Santiago.  The trio reminded me of the Three Musketeers.  Immediately I felt the story was clearer than the movie.

The booths truck off and a heart shape moves in to create a frame for the next scene.  

Sparklers fire up.  Thankfully this effect is not overused.

The red curtain comes down and Satine played brilliantly by Karen Olivo flies in via the obligatory swing. (See note and feedback about sight lines!)   Karen Olivo sings and acts well though I felt a lack of empathy for Satine's plight.

The Moulin Rouge sign rises and the customers leave.

Purple lights and tab curtains rise to create a set change to Montmartre hill. 

Wow the scene changes are just so incredible with all production departments contributing to their success.

The Rogers and Hammerstein "Hills are alive" from "The Sound of Music" joke builds until cannot consider another version of the lyrics.  The audience has been mesmerised for the first twenty minutes.  Yes it is only twenty minutes into the show!

Christian played by admirably Aaron Tveit freezes in spotlight to narrate.  His singing at times is a little squeaky and thin.

We are introduced to the dream show called "Bohemian Rhapsody".  Yes there are more hysterical laughs from the audience.  The timing is sublime in this show.

Directed by Alex Timbers, who also directed "Beetlejuice" has the audience in the palm of his hand.  So far this show is better than the movie.  So was his version of "Beetlejuice".  Heavens he is the director to watch in the future.

The trio sing "I've never seen a diamond in the flesh" and it is slick and sharp.  (Forgive me as I do not officially know the names of the songs as they were not listed.  I am only going from my notes of the lyrics.)

The trio discuss what they believe in as other Bohemian characters enter in black and white costumes.  Wow you really feel as if you are entering the world of impressionist painters' palettes.

The set is a Montmartre streetscape and more characters enter.  There are flash-spotlights and the curtain of black and gold lowers.

Satine again enters on a swing from above "Diamonds are forever" and the audience hoots and hollers in delight as it pays homage to Shirley Bassey and the movie.  The setting is black and silver.  Two men lift Satine off the swing.

The scene rapidly changes to a large diamond shaped mini stage.  Six male dancers enter in top hats paying homage to the Golden Age of Hollywood movies.

Six female dancers enter and sing and dance to "Material Girl" that pays homage to Madonna.  The only thing missing was the large gap in her teeth.

We change quickly to "I'm a Single Lady" as they wear Madonna wigs.   They pay homage to Beyonce et al. 

Wow and it is only 7.28pm.

Christian, our narrator is in the Windmill and Satine collapses onstage during her performance.

The lights change to green.  Pause.  Silence.  Purple lights change.

Roses are delivered.

Two diamond trucks enter from the sides.

A costume racks appear.

Breathing as this show has only been going half an hour and is the most amazingly complex production for all departments that I have ever seen.

I could easily see this show again as there is so much detail that has gone into every production department.

I will not go into any more detail.  I am in awe at the complexity of this production and that there is not a hole in the entire production.  You barely have time to breathe, and thankfully there are pauses for the audience to capture your breath.

There is a duel scene.

Satine meets Christian in her dressing room which is inside the elephant.  The scenery change is unbelievable as we have the elephant on our audience right, and now we are inside this dressing room.  Later at the end of act one the set revolves to completely change our perspective of looking into Satine's dressing room from the outside.

There is more drama in this musical than I felt in the movie.  Though I think it still lacks real emotional connection between the characters.

Interval:   The Moulin Rouge illuminated sign is lowered.  Music plays on a loop to keep the buzz and atmosphere alive.

I spoke to a guy whilst in the queue to the loo, and I asked him his thoughts.  He said, "it was too commercial and lacked oomph."  I said "it lacks heart and real passion and has no real emotional connection with the audience" and he agreed.

Act Two:  

The lights change suddenly to create an instant revisit to the Moulin Rouge.

A doorbell type ring reminds me of "The Book of Mormon".

Christian continues his narration in spotlight.  Two months have passed and we go backstage to rehearsals.

The Argentinean, Santiago played brilliantly by Ricky Rojas dances with a woman.  The dance is very sexual and dominating.

During the rehearsal one of the funniest moments I thought was when Satine was mouthing the words of the other characters.  It was very clever and no one laughed as there was so much happening on the stage.

Another of the rehearsal scenes includes the heart shaped framing the action.  The Duke of Monroth played by Tam Mutu makes a complaint and I finally start to feel some drama is happening.  There is a pause and silence that cuts the theatre with a knife.

Costume Design by Catherine Zuber is also pure Degas and Toulouse-Lautrec. It is as if we have entered an impressionist's painting.  There are elaborate gowns and tailcoats, corsets, work-wear and costumes for the performers as well as fetish type clothing.

There is a section in Act Two that reminded me of "My Fair Lady" in the mauve, pink and blue tone costumes.

The mind bending scene with the drinking of Absinthe is well staged for the theatre.  Though, it does not have the same impact as the movie, the scene is more succinct.  The lighting and staging makes this scene easier to follow compared to the movie.

Finally I feel some empathy in the next scene when the Duke makes a threat and the action that ensues.  You could again cut the air with a knife as the audience is spellbound.

The final scene is moving and finally I feel some emotional response.  No tears for me though.  There should be as I cry quite easily if I feel an emotional connection between characters.

Choreographed by Sonya Tayeh has created iconic sensual moves on an array of body shapes.  Some of the male dancers are so pumped up that I doubt these body shapes were dancing at the Moulin Rouge during the set period of 1899.

Sony Tayeh There are tributes to so many films and musicals during some moments to more extended scenes.  One of the more extended sequences pays homage to Gene Kelly in both "An American In Paris" and "Singing In The Rain".  Sonya Tayeh also pays homage to John Cranko's "Romeo and Juliet" with the port de bras creating a heart shape.

Lighting Design by Justin Townsend is breath taking to say the least as he captures the impressionist palette but also the various light and shade of the seedier side of Paris.  Lighting clearly articulates each location with suitable atmospheres.  Spotlights are used to emphasise when we are getting into a character's personal thoughts.  The lights change very deliberately from tones of red, blue, purple and white to create many different moods.

Music Supervision, Orchestrations, Arrangements and Additional Lyrics are by Justin Levine.  While the Music Direction and Additional Arrangements are by Cian McCarthy.  The music is instantly recognisable but is too electronic for my taste.  I wanted a full orchestra to really appreciate the soaring themes of the music.  During the show, I kept visualising and sonifying (the hearing version of visualising anyway) the Melbourne Symphony Orchestra playing this beautiful score.

FINALE:

The finale is a party with a great dance number.  The audience are up on their feet.

The finale also pays tribute to “Billy Elliot The Musical” when all of the male dancers appear in tutus. In “Billy Elliot The Musical” the men all tap dance in the finale, while here they do a Can Can dance.

CONCERN:
As "Moulin Rouge! The Musical" has been announced the next production will play in Melbourne at The Regent Theatre. I am so curious about the renovations at The Regent Theatre in Melbourne as they extend the Dress Circle closer to the stage. I am concerned as the back Stalls area will not be able to see the height of the stage and also the entrance of Satine as she is lowered by the trapeze. I hope they have cheaper tickets at the back of the theatre.  This concern also applies to “Billy Elliot The Musical” as I concerned those in the rear stalls may not see some of the action.

We both gave "Moulin Rouge! The Musical" an 8.5/10.

We saw "Moulin Rouge! The Musical" on Broadway on Wednesday August 21st 2019.

Feedback to Moulin Rouge survey:

We had front row tickets in the Mezzanine and we could not see stage right below nor could we see the front of the catwalk. CHECK the sight lines as Hal Prince would do from every seat. At $299US a ticket this is not good enough. Also for a show about passion and love, it felt dead and lacked emotion. I felt one twang during the last 20 minutes. I cry easily and get very emotional during shows and here I felt dead. We loved the show, but the music sounded too electronic and needed a richer sound. Please ensure that the renovations of The Regent Theatre  Melbourne allow viewers to see the top of the stage for Satine’s entrances. Make sure they get the sight lines right. I have already shared this on Facebook.

Congratulations as we did not like the movie and this show is better than the movie. We felt the same about "Beetlejuice" and Alex Timbers is a genius.

The show will look great in the current Regent Theatre. We hope they do not destroy the theatre seats and sight lines.

My predictions for the Australian cast include:

Satine either Alinta Chidzey or Natalie Mendoza.

Christian - David Harris

Harold - Richard Piper or Greg Stone

The Duke - Greg Stone

Toulouse-Latrec - Bert La Bonte

Cloudstreet, Malthouse Theatre with Black Swan State Theatre Company, The Merlyn at The Coopers Malthouse, Thursday May 23 and Friday May 24th 2019

Cloudstreet, Malthouse Theatre with Black Swan State Theatre Company, The Merlyn at The Coopers Malthouse, Thursday May 23 and Friday May 24th 2019

"Cloudstreet" was presented by The Malthouse Theatre with Black Swan State Theatre Company, The Merlyn at The Coopers Malthouse, Thursday May 23 and Friday May 24th 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.

"Cloudstreet" by Tim Winton was adapted for the stage by Nick Enright and Justin Monjo and  was presented by The Malthouse Theatre with Black Swan State Theatre Company, The Merlyn at The Coopers Malthouse, Thursday May 23 and Friday May 24th 2019.

The opening scene was way too loud with vocal levels.  Amplification of voices was unnecessary as the actors projected their voices with purpose.

Matthew Lutton has directed a fine production that resonates with the elements, and the house speaking via two Indigenous actors.

The entrance of when Lester goes looking for Quick and Fish needs a slight change as he masks the central action and turns to discover them.  It is a corny move that can be corrected with Lester searching out into the audience as if looking into the waters, and then turns to discover the boys centre stage.  I spoke to Matthew Lutton at interval and congratulated him on a great production and pointed out the above change.  He liked it and may incorporate it when the show travels to Perth.

The reason why I say this is because the production was nearly faultless.  

Set and Costume Designs by Zoe Atkinson excel in bringing Tim Winton's novel to life.  The house is transformed with sliding walls and a floor that weeps tears for the history and creates so much watery atmosphere.  The images of the cast walking on water at times are as if Lazarus has arisen.  (Coincidentally "Lazarus" the David Bowie musical is playing for three weeks at the Arts Centre Melbourne Playhouse Theatre.)

The costumes bring to life the 1950s' and 1960's.  This is one of the few productions where you could smell the toil and sweat in the heat of the encased in the costumes.  I am sick of seeing beautiful costumes that are too clean for characters.  Congratulations Zoe Atkinson and Matthew Lutton for a truthful depiction of the characters' clothes.

I wrote the following notes on Facebook after Part One:

"CLOUDSTREET: MALTHOUSE THEATRE

I have seen Part One which is acts one and two, and loved it.

The period music sets the tone as you enter the theatre. Sadly, no acknowledgement of the songs/music is in the programme. My mum used to sing these songs so it enhanced the experience of struggle, survival and love.

The vocal volumes are a little loud, and they do not require microphones as the actors project their voices.

Great inventive design by Zoe Atkinson that has many elements that were used in her brilliant designs for BLACK RIDER: THE CASTING OF THE MAGIC BULLETS.

One entrance will gain more gravitas with the atmosphere by having Lester Lamb (Greg Stone) searching for his sons by not masking the action centre stage. Plus it will add to the search and sense of space. A dual lighting adjustment here could also enhance the dual atmospheres.

Great sound effects that create varying atmospheres.

Some of the lighting plot could be improved to create different locations both in, and out of the house.

A beautifully cast production.

Sadly, the programme does not list each actor playing specific roles. For example, list the names of the characters, and others. I want to be able to look back in later years and say a particular actor played a specific role.

I look forward to PART TWO, tomorrow night, that comprises acts three and four.

So far, 8.5/10."

The programme could have detailed each character played by the actors.  I want to be able to look back and recall specific actors played one major role or various roles.  They list this way in commercial productions.

The whole cast were brilliantly suitable for their roles.  Yes, Natasha Herbert as Dolly Pickles was sublime in her drunken and slutty matter.  Alison Whyte was also sublime as Oriel Lamb,  Greg Stone redeemed himself after "The Dolls House Part Two" to play Lester Lamb.  Guy Simon gave a caring performance as Quick.  While Benjamin Oakes gave an honest portrayal of Fish, these two guys had a unique relationship that was not forced but created a connection,

The relationships between these main characters with each other were one of the strongest interconnections I have seen in a production in a long time.

One review stated that Natasha Herbert was comical.  I disagree and  would call her characterisation as the reviewer described, but emphasise that her honesty in portraying these elements was so truthful and recognisable that it was made funnier (or comical).  The way the reviewer made it sound as if Natasha Herbert was playing for laughs.  She was not.

Rose giving birth scene was a stylised transformation with the use of the pregnancy costume becoming the baby and the after birth.  This birth was very clever and one of the best examples of a birth on stage that I have seen.  Not as this same reviewer described the scene as "performed outrageously well".   It was a transformation not an outrage!

Sam Pickle, played by Bert LaBonte, was downstage hidden at a beach house.  This same reviewer missed the point of the two distinct locations that juxtaposed the scene.  The reviewer missed the point, as it was Lester Pickles having sex with Bert's wife, who provided the hideaway for Bert.  So there was more to this short scene than "deflation and oblivion".  I loved the juxtaposition of the supposed tough guy being hidden away by the caring and full of surprises Lester.

Lighting Design by Paul Jackson was more atmospheric and location specific in the second part.  This lighting was better for the third and fourth acts (Part Two) as it created more defined locations that enhanced atmospheres.  

Sound Design by J. David Franze and Composition by Elizabeth Drake enhanced the atmosphere the moment you walked into the theatre.  Sadly, the programme did not name the specific tunes that were used.  I recall the songs and tunes from my childhood and watching old movies.

The Aboriginal and Indigenous themes were beautifully incorporated.  From my memory of the book, they represent the landscape, and the history of the house.

Theatre is a different medium to a book and the production captures so much depth of Tim Winton's novel.

"Cloudstreet" obtained an 8.5/10 for the two parts.

Solaris, Malthouse Theatre , Merlyn Theatre at The Coopers Malthouse, Saturday July 6th 2019

Solaris, Malthouse Theatre with The Royal Lyceum Theatre, Edinburgh and The Lyric Hammersmith, at The Merlyn, The Coopers Malthouse, Saturday July 6th 24th 2019

"Solaris" was presented as a co-production by The Malthouse Theatre with The Royal Lyceum Theatre, Edinburgh and The Lyric Hammersmith, London at The Merlyn, at the The Coopers Malthouse on Saturday July 6th 24th 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.

"Solaris" was presented as a co-production by The Malthouse Theatre with The Royal Lyceum Theatre, Edinburgh and The Lyric Hammersmith, London at The Merlyn, at the The Coopers Malthouse on Saturday July 6th 24th 2019.

Imagine a psychologist turning up unannounced at a space station!  What happens after that is fabulous entertainment.

I have not read the book by Stanislaw Lem, nor seen any of the movies from 1972 or the 2002 version, or any documentaries about this story.  I found the show easier to understand than four reviews that I read in the Melbourne press.

Wow!  We both loved it and challenged with our idea of time and space and motion during the show. The lighting made us feel as if we were travelling in space too.

This production is timely and appropriate as it also honours and pays tribute to the July 1969 landing on the moon mission.

"Solaris" has been adapted into a play by David Greig and I felt the journey into space, the unknown and the drama of the events on board the space station.  I do not care if this play is true to the book or films. as it works as a piece of drama.

Directed by Matthew Lutton, he has used a device to change scenes that felt so much like a science fiction movie.  This similar device of a screen raising and lowering is reminiscent of the scene changes and tabs being pulled across.  Here it works by transporting us into different zones.  The ocean like projections swirled to the point of sweeping me along on a journey.  Sometimes, I felt as is I was wandering between the air locks in the space station.  At times I felt as if I was going along with the flow, then at other times I felt ill and wanted to resist.

(Note, the use of the screen with video was also used this week in the Melbourne Theatre Company production of "Storm Boy".  It was also overused in "Storm Boy" and became obsolete when a scene change occurred without the screen and projections.)  The use of the screen for scene changes was used appropriately in "Solaris".

Lighting Design by Paul Jackson is brilliant as it captured so many atmospheres.  (Excuse the pun!)  The overhead lighting was claustrophobic and stark for the space station.  I felt as if I was on board the space station and observing Solaris, the planet.  I felt the moods with the colour changes.  Eerily, the colour changes mid scene were enveloping that I felt I was not in a theatre observing, but with the crew on board observing.  It was one of the most immersive productions that I have seen in a long time.

The red and blue time were disorientating, and I was compelled to look at my watch at 8.35 pm, and 9.05 pm because I felt lost in time and space.   I had to bring myself back to the reality of being in The Merlyn Theatre.

Sound Design and Composition by Jethro Woodward was brilliant as I had to look around the theatre as the sound was so realistic and haunting.  The subtleties of the directions of sound were off putting and mesmerising, to the point of being hypnotised.

Set and Costume Design by Hyemi Shin were also brilliant.  The capsules and compartments were seamless.  The change towards the latter part of the play allowed us to see the mechanics of the set that again questioned our sense of reality.

Video Effects by Toby Angwin along with the Cinematography by Tov Belling and Katie Milwright added to the eeriness of the VHS tapes showing Dr Gibarian (Hugo Weaving) welcoming and explaining what happened to him.

The synchronisation of the equipment on stage was well executed.  During one scene, something happens and I felt for the actors.  I was sucked in so well as it was part of the story.  The cast, the design team and the production team have all worked in harmony to create a fabulous production.

Acting wise, I loved all of the performances.

Leanna Walsman as Dr Kris Kelvin built up her character over time, by revealing various levels of her personality.  The shock of her arrival on the space station, the different encounters with other characters and her journey had me engrossed.

I do not want to spoil moments, but Keegan Joyce as Ray was like something out of  "Avatar" the 2009 movie,  but without the special cinematic effects.  He did things with his body and voice that were realistic, yet unnerving.

Spoiler alert follows:

Fode Simbo at Dr Snow was terrific, and left me wanting to know more about him.  As did Jade Ogugua as Dr Sartorius was a mysterious character.  I did guess the link to the child, but even so, this did not spoil the journey.  In fact, I think that is part of the story - to make you feel the love, and the other emotions of the characters.  I did want to know a little more about Dr Snow's connection as it was glossed over in about two or three lines.

The Young Girl was played by Flora Feldman at this performance.  She was focused so well on her character and did not break concentration once by breaking the fourth wall. I felt engrossed by her performance.

The play left me with questions that were not depressing, but contemplative about the future of the planet and contact with other realms.  I had questions about two characters, though again, it made me consider different perspectives,

Matthew Lutton and all of the actors, creative and production are to be congratulated for delivering a fabulous journey that was unsettling and also at times uplifting for the human spirit.

My regular beef is please name the characters in the programme, plus include the year, 2019 on the cover.  I had to read another review to get the spelling of Dr Sartorius.  (Did these newspaper reviewers get Press Release kits including the spelling?)

The best part was the show was easier to understand than reviews in The Age, The Herald Sun and The Australian.

This 2019 season is proving to be a winner for Matthew Lutton and The Malthouse Theatre.

Congratulations to Matthew Lutton and the team for being such great ambassadors of the arts with this fine production.

"Solaris" obtained an 8.5/10.

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.

Storm Boy, MTC Sumner Theatre at the Southbank Theatre, Tuesday July 2nd 2019

Storm Boy, MTC Sumner Theatre at the Southbank Theatre, Tuesday July 2nd 2019

"Storm Boy" is a co-production by Melbourne Theatre Company, Queensland Theatre Company and in association with Dead Puppet Society. This co-production was presented at the MTC's Sumner Theatre at the Southbank Theatre, Tuesday July 2nd 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.

This review contains spoilers.

"Storm Boy" adapted by Tom Holloway for the stage from the book by Colin Thiele.  

"Storm Boy" was directed by Sam Strong from the Queensland Theatre Company and designed by Anna Cordingley.

Congratulations to David Morton as the Puppet Designer and Associate Director.  The team of puppet makers and puppeteers were fabulous.

The puppets by Dead Puppet Society captured so much of the audience's attention. Both the design of the puppets including pelicans, pelican chicks, fish, penguins and a snake were brilliantly executed by three superb puppeteers: Ellen Bailey, Emily Burton and Drew Wilson.  They made sounds to match the movements of each pelican puppet.

Emily Burton captured the only emotional heart string for me when she caressed the Storm Boy's forehead after Mr Percival dies.  Emily Burton provided the heart and soul of this production that was so lacking in the emotional bond between any of the characters.

Direction by Sam Strong had the actors force the story down my throat.  The volumes and emotions were charged beyond a realistic level.  There was no real connection between the three main characters and the story jumped with cinematic ad breaks as the curtain came down to change the set (yet again!).

Set Design by Anna Cordingley was sensational, and was so cinematic at times that I felt ambivalence, and questioned why they adapt the book as the original film is a classic piece of Australian film making.  The curtain kept rising and falling with more sound-scapes and two mobile phones vibrating loudly on two occasions.  The front curtain became a movie screen to transport us to the next location.

The boat scenes were effective with the rocking and rolling in the water.  The floor created a lovely mirrored glaze with clouds reflecting and textured sand replicating the images of South Australia's Coorong.

I did not warm to any of the three characters, though Tony Briggs as Fingerbone Bill tried valiantly to build rapport with the other two actors.

I felt the actors were not really listening to each other, as the levels were so emotionally wrong at times.

The show dragged and was laboured.  The puppetry and puppeteers at least brought the show to life at times.

I remember looking at my watch at the 20 minute mark, then the 35 minute mark, wanting less changes of set to create a more seamless flow.

Composer and Sound Designer, Darrin Verhagen created some wonderful and atmospheric sound-scapes that at times were diminished by the forced performances.

"Storm Boy" obtained a 6/10.

Lazarus, The Production Company, The Playhouse, Arts Centre Melbourne, Saturday May 25th 2019

Lazarus, The Production Company, The Playhouse, Arts Centre Melbourne, Saturday May 25th 2019

"Lazarus" was presented by The Production Company at The Playhouse, Arts Centre Melbourne, on Saturday May 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.

"Lazarus" by David Bowie and Enda Walsh was presented as the opening show for The Production Company's 2019 season, at The Playhouse, Arts Centre Melbourne, Saturday May 25th 2019.

"Lazarus" has been presented in London and Off-Broadway.

In a word - "awful!"

In two words: "don't bother!"

Yes, David Bowie fans may think this is sacrilege.  But it was such a confusing production.  The four pages brief David Bowie had presented to the original writer Enda Walsh was certainly not realised in this production.

The staging was cumbersome, awkward and lacked focus.

The video and lighting designs covered up the confusion.  Some consolation at least was the video played homage to David Bowie.

Set and Costume Design by Anna Cordingley had flashed of eccentricity and again paid homage to David Bowie.  The set reminded me of "Bye Bye Birdie" with seven screens wide and two high to create fourteen oblong shapes that would expose performers behind.  These fourteen screens were used for the videos and also to reveal action behind. 

Lighting Design by Paul Jackson created some highlights, but more distractions from the awful production.  It was a saving grace at times.

The show dragged for want of some decent singing and story line.

The sound of the orchestra was thin.

Vocally the singing was uninspiring and at time grating.  

Choreography by Stephanie Lake showcased how she struggled to move from contemporary dance to commercial theatre.  The staging and choreography was much like a ballet school concert.  Yes, I have seen enough contemporary dance used effectively in Broadway productions of "Spring Awakening" and "American Idiot".  (Not the Australian productions!)

The choreography was executed with random hap-hazard coordination.

Direction by Michael Kantor was like his rising as if Lazarus.  This production lacked focus and was like one long (very long) video music clip.

Some decent singing came from Emily Milledge as the Girl and Chris Ryan as Newton.  Iota, was Iota and paraded in his beautiful outfits that again tried to detract from an awful production.

Emily Milledge was terrific as the Girl, though she was much better in "Carrie the musical" and other shows.

Chris Ryan has a good voice and did a reasonable job with an awful script, role and direction.

The production was enigmatic and confusing.  The staging was clunky at times.  No, often!

The finale had Chris Ryan singing "Heroes" with about 67 disco balls, and only one that spun.

I noticed that eleven people left during the first hour, and only three returned from breaks.  So, that was eight people in the stalls left that I saw and counted.  It was more interesting to watch the reactions of The Production Company subscribers leaving, and those that stayed, rather than watching the show.

The best part in the show was a young man called Josh Gates who played Ben and Dirty Boy.  His singing was the best in the show.  His dancing was sublime. He was worth spending $105 a ticket to see.  I look forward to seeing him more in the future.

The finale image of David Bowie after the curtain calls was a comfort that he did not live to see this production.

Overall, "Lazarus" obtained a 5/10. 

Sweeney Todd the Demon Barber of Fleet Street A Musical Thriller, TEG Life Like Company, Her Majesty's Theatre, Sunday April 23rd 2019

Sweeney Todd the Demon Barber of Fleet Street A Musical Thriller, TEG Life Like Company, Her Majesty's Theatre, Sunday June 23rd 2019

"Sweeney Todd the Demon Barber of Fleet Street" A Musical Thriller" was presented by TEG Life Like Company, at  Her Majesty's Theatre, Melbourne on Sunday June 23rd 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.

"Sweeney Todd the Demon Barber of Fleet Street" A Musical Thriller" was presented by TEG Life Like Company, at  Her Majesty's Theatre, Melbourne on Sunday June 23rd 2019

I will outline the good things before I discuss what I did not like about the show.

I have seen about six versions of this show.  Some multiple times, so I have seen a version of "Sweeney Todd"  at least ten times in total.

Vocally - the choral harmonies were fabulous.  Nearly, the best I have heard of this score.

The orchestra led by Vanessa Scammell was sensational.

I loved Anthony Warlow in the titular role of Sweeney Todd.  With better direction he would have been brilliant.

Gina Riley as Mrs Lovett gave an adequate or fair job with her in-your-face performance.  She lacked the finesse and pernicious natures of the role by every other actress I have seen do this role.  She was not menacing and conniving enough.  Part of this I put down to the lack of rehearsals and lack of solid direction.

Tobias Ragg played sensitively by Jonathon Hickey.  Though with better direction, staging, and relationship development with Pirelli and Mrs Lovett, he has the potential to be the best Tobias I have seen.  Sadly, the direction let him down.

Anthony Hope was played well by statuesque Owen McCredie.  His rich tone was heavenly, though he did hit a few bung notes.

Daniel Sumegi played Judge Turpin with vocal authority but needed more physical commanding presence.  His acting was very wooden.  We were fortunate to witness Daniel Sumegi sing when he won the Sun Aria.  It was so good to see how much he has developed.

Anton Berezin as Beadle Bamford gave a solid performance, but was hampered with inadequate and clumsy staging and direction.

Jonas Fogg, I am sorry to say played by Matt Heyward was nearly forgettable as the direction let him down.  Matt Heyward was a great ensemble cast member who assisted in creating different atmospheres for various scenes.

The bass voice in the ensemble was magnificent, pure and rich in tone and diction.

I did not like Joanna as she was played with distance by Genevieve Kingsford. She had a pinched and shrill tone that lacked any warmth.  I did not care for Joanna to be saved.  Every other version I have seen, I felt desperate for her safety.  This time, I wanted Anthony Hope to run!  (Now, I loved her in "The Light In The Piazza" and have seen three versions of that show.)

The Beggar Woman/Lucy role played by Debra Byrne required clearer diction.  Her entrances and exits lacked purpose and direction.  Sorry, she was awful and I like Debra Byrne usually.

Set Design by Charlotte Lane had good points but was very clunky in the execution by the cast in the staging of many numbers.  The set with walkways around the orchestra on stage left reminded me of the walkway from the original "Pacific Overtures".  The use of the mirror, window and portraits reminded me of Anthony Warlow in "The Secret Garden".

Lighting Design by Tom Willis was reasonable to create different atmospheres and locations, though the execution at times was a bit clunky.

Costume Design by Kim Bishop was generally serviceable but the brocade looked as if there were dusty patches on many of the costumes.  The gentlemen at the seance looked resplendent in their tails.

I liked the idea of the seance concept by director Theresa Borg, but it became piece-meal by ensuring the head of the seance - madam was returned to the table.  The concept needs work to be fully realised as it highlighted how under-rehearsed and under-developed (under-cooked - excuse the pun!).

The staging with the round table distracted our attention from other action.  I realised I had missed a few important moments happening elsewhere as the table turning and positioning up-staged the other action.

The staging with the red curtains was used for Pirelli's entrance, the dividing curtain to Mrs Lovett's parlour and also the gate to the asylum.  I can cope with a set piece being used for multiple purposes, but it became very confusing with the asylum scene.

I could cope with the concept of the zombie-like exits after each character had their throat slit.  What I did not like was the difference in execution - as some would stand in the doorway a moment and wander off, another would rush off, while another would walk with a zombie like gait.  Maybe have arms out to keep some consistency.  Plus a lighting effect may have added to the moment.

The chute being wheeled on was very amateurish.  This took away from the drama of the reveals of bodies in the chute.  Sadly, the worst version I have ever seen of this scene.

Choreography by Jo-Anne Robinson was wasted as it appeared that time had been spent rehearsing the opening number to create a dance of gestures.  Oh yes there was the Sweeney Todd and Mrs Lovett waltz to the oven.   Oh yes and a girl danced on the table!

The timing of some interactions was totally off beat.  The relationships between characters at times were incongruent and lacked the sensitivity to honour the score and the subtle humour.

Miming occurred one moment, then not another, which was totally bizarre.  They mimed the oven door in one scene, and then another time they used the gates of the oven door.  Miming pies in another moment and then have pie (props) was totally ludicrous.  The worst bit was when there was not even a stuffed bird in the bird cage, and was mimed having its head twisted.  You can buy these stuffed birds at $2.00 shops.

The duet "A Little Priest" lacked so much humour.  The funniest moment was when Anthony Warlow walked towards the violin section of the orchestra for the "stringy" line.

The "God, That's Good" and "more pies" scene that opened act two was absolutely a mess.  The scene screamed "ridiculous" as the singers were singing "more pies" while a plate full of pies was centre on the table.  Some of the performers were trying to make something of this and you could see the futility and resignation on their faces.

There was an in-joke where the chandelier rose and fell that paid homage to "The Phantom of the Opera" that Anthony Warlow had starred in during the late 1980's.

I was disappointed that I missed Sweeney Todd's final entrance onto the table, as other action distracted my focus.  I knew his entrance was coming and was thrown momentarily.

I have seen at least two amateur productions that had better timing and staging than this production.  I was certainly had spine tingling reactions at every other performance.  Sadly, I did not have these reactions at this production.

At $163 a ticket - it was worth seeing Anthony Warlow perform this role.

Overall - messy!  It was like a work in progress.

"Sweeney Todd the Demon Barber of Fleet Street - A Musical Thriller" only obtained a 7/10.