Why 'I Will Survive' should survive

I Will Survive is getting a hammering from critics. Some reasons are valid but I also get a sense that there's a stifling of any real desire for originality within the talent show-slash-reality genre.

Daniel Burt for one is more than happy to bang on about the “confused” concept and the fall-through with the prize to perform on Broadway. Sure, men in drag doesn’t equate to a triple threat ready for the bright lights of Broadway and, sure, the boys won’t get to play Tick in Priscilla. I’ll also grant that the show’s structure focuses a little too much on un-related whimsy (like playing footy and going to firing ranges) and not enough on showing off the contestant’s talents.

But, what the show does offer is an acknowledgment of the musical theatre audience in Australia, and I think that is long overdue. Triple threat isn’t a word used much on talent shows. Sometimes “talent” doesn’t even come into play; a good sob story is worth its weight in airtime over someone who can hold a note for longer than two seconds. Shows search for the “x factor” and wind up with another Justin Bieber or Katy Perry. Musical theatre is different. It is home to triple threats who don’t want to be on the next cover of NW Magazine but want to slog their guts out singing, dancing and acting live on stage eight shows a week.

Talent shows in Australia are scattered with musical theatre performers. The likes of Jaz Flowers and Matt Heatherington from the first season of The Voice spring to mind. Yet if either had sung a song from a musical using their trained musical theatre technique, they would have been crucified. The musical-theatre-loving audience is almost completely ignored on commercial television. Why? God knows.

So I for one am happy to think that Kyle Sandilands would have his head in a bucket being sick at all the “musical theatre cheesiness”. I Will Survive celebrates diversity. It talks about and brings value to the idea of a triple threat, it showcases some talented Aussie blokes who otherwise never get their spot of commercial television, and it celebrates Australia’s best-known musical export – Priscilla.

Does the exact format of I Will Survive work? No. It is confused and does focus more on the fun of drag rather than the skills needed to be on Broadway. Is it a fun show to watch? Yes. There are loads of laugh-out-loud moments and the contestants are an interesting bunch.

I would love to see a talent show like BBC’s Any Dream Will Do! and How Do You Solve a Problem Like Maria? that casts the next lead in a musical. That format would give a real perspective of the musical theatre industry. But, for now, I will certainly settle for I Will Survive, and applaud Channel Ten for giving this show a chance.

So to all the haters: get off the soapbox. If you want to play the ratings card, take a glimpse at what is rating higher than I Will Survive and have a quick think about how that show is contributing to greater diversity on Australian television. Do you really want to watch another reality show filled with models pretending to be “wife-material” or “geek-trainers” to get a leg up in their next audition?

I Will Survive is catering (albeit strangely) to a neglected theatre-loving audience. Let's support this strange child that is trying to do something different for once.

I Will Survive airs Tuesday and Wednesday nights at 7:30pm on Channel Ten.

Review: Mary Poppins the musical in Sydney- magical and fun to boot

AS the audience packed into the Capitol Theatre to see Mary Poppins last night (Sunday 22 May) there was an excited buzz swarming around both children and adults alike.

Of those that I spoke to, women gushed over how they had grown up with the Disney film (based on the stories of Australia's own P.L. Travers) and were excited to re-visit that moment of their childhood. The children simply couldn't wait for the spectacle to begin and milled around the front of the stage to look into the orchestra pit covered by a semi-translucent black cloth.

Part of the joy of seeing live theatre is the sense of community and solidarity you feel with the hundreds of people who have chosen to switch off their televisions for one night and get dressed up for a few hours of live entertainment. Most people gathered with their family or friends have the biggest smiles written on their faces as they anticipate what lies behind the large stage curtain.

The audience weren't disappointed.

From the first scene, an unmistakable energy and fast pace was set as the cast zipped through the show, from big number to big number.

There is so much to entertain and delight in this show. From the characterisation of 'practically perfect' nanny, Mary Poppins, who is playful and witty yet maintains a (dare I say it) darker, more mysterious charm, to the bright and bubbly Bert who melts the audience's hearts with his cheeky smiles and sprightly jigs.

Both Verity Hunt-Ballard as the leading lady and Matt Lee as lovable Bert do a fantastic job, each serving their characters very well while at the same time adding a spice of their own personalities to the mix. I particularly enjoyed Hunt-Ballard's 'Mary Poppins' voice which had a more nasal and twangy sound that gave Poppins a bit more edge, as well as the unmistakable dancing talents of Lee whose tapping is a joy to watch. Veteran performers Marina Prior, Phillip Quast, Judi Connelli and Debra Byrne also head up a fine supporting cast.

Classic numbers like "Jolly Holiday," "A Spoonful of Sugar," "Supercalifragilisticexpialidocious," and "Step in Time" all packed a punch and got the feet tapping with their lively beats. New songs such as "Practically Perfect," "Brimstone and Treacle" and "Anything Can Happen" composed specially for the musical are all fabulous additions which fit seamlessly into the show and rival the above ensemble numbers for best tune.

Favourites for me were "Jolly Holiday," which launches the audience out of the stale and dull world of the Banks family into the imaginary world of heightened colour that Mary Poppins adventures in and out of throughout the show.

"Step in Time" was also visually spectacular, with Lee literally climbing the walls and tapping on the roof of the theatre as one of the many tricks the production has in store. The number is especially captivating due to its tempo changes that slowly draw the audience into the world of the chimney sweeps on the rooftops of London and then quickly blast them into the no longer peaceful but exciting world above with snappy, high-energy dance routines.

"Anything Can Happen" ends the show on a wonderful, magical note, with Mary Poppins flying out into the audience. Not only does the song deliver a heart-warming message, but the stage craft of its delivery quite literally gives you shivers. The moment Hunt-Ballard took off from the stage and flew right above my head while looking down and smiling to the audience with Poppins' trademark elegance and poise will stay with me for a long time. It crystalised for me what is so special and enlivening about musical theatre- that no matter your troubles of the day or worries over what is to come, in the almost three hours at the theatre, you can leave them behind and engulf yourself in an imaginary world filled with so much pure joy and happiness.

The yet unspoken hero of the show is the first class staging, lighting and sound design, costuming, and special effects. The production is a visual feast, but it goes one step further with its clever set design. Most enchanting is the large dolls house that literally opens out to be the Banks' home, within which holds many tricks. From a kitchen that can in one moment almost completely fall apart to then be re-assembled without the human hand moments later in "A Spoonful of Sugar," to the bottomless pit of Mary Poppins' bag in "Practically Perfect," there are many 'wow' moments. Even sitting in the front row it was hard to pick out all the secrets behind the tricks.

Mary Poppins in many ways epitomises what musical theatre is about- a big heart. The show holds appeal to all ages not only because of its didactic storytelling and memorable showtunes, but because no matter how old we get, I think we can always find the child within us that revels in bright, beautiful colours, magic tricks and mystery. Mary Poppins is all those things, and is totally fun to boot.

The show is testament to the top-notch productions Sydney and Australia are capable of putting on. We know how to entertain audiences and put 'bums on seats,' and we have loads of talented people who a brimming with energy to do it, so here is to the long and healthy life of musical theatre in Australia. Hip, hip hooray!

Why Sydney's musical theatre scene needs more government funding

By day I go to university and study how to be a journalist. On the days I'm not at university I work as a journalist at news.com.au. By night I am a performer.

For the last 10 years I have saved all my pennies and invested them in singing, dancing and acting classes. Why? Because I love musical theatre; it's my 'passion' in life (or "purpose" as one would say in Avenue Q). I love watching it, I love writing about it, I love performing in it.

Realistically, though, musical theatre in Sydney and Australia at large is a struggling art. The country is full of talented performers who usually go offshore to get work and make a living from their craft. They train here then ship off to Broadway or West End and end up calling those places home because that's where they are appreciated as the talented performers they are.

The Arts community in Sydney is so small and Elisa Blake in her article for SMH (27/03/2010) which can be viewed here summarises why Sydney's performing arts scene is dying a slow death. Her story focuses on why Melbourne has developed the reputation as the Arts capital of Australia and offers realistic ways Sydney can re-claim the title.

What is the overarching verdict, though, when everything boils down? The need for more government funding. The need for the government to realise that every now and then $2.8 billion reserved for stadium upgrades should Australia win its bid to host the 2018 World Cup could be better spent on helping those struggling theatre companies that work tirelessly to create a culturally vibrant Sydney Arts scene.

Sport seems to be the theatre's main competitor for funding but the mind boggles at why the government isn't placing more value on the Arts.

I could ramble on for hours...

BUT I decided, on reading Elisa Blake's article in April, that I had to voice my concern. The Keneally government is in such a state of disarray as it is, it seemed harmless to suggest that her government could get a bit of positive press for doing something good for the community- ie. investing in more infrastructure for the Arts, increasing community theatre grants, the list goes on.

Wicked's phenomenal takings at the boxoffice proves that there are people out there who are willing and able to go see theatre. We need to harness the energy of the thousands of passionate Wicked fans and followers and direct it towards achieving sustainable long-term goals.

My letter was only one drop in the ocean but I encourage more people who are passionate about the arts to take a stand and fight for the future of the musical theatre industry in Sydney and throughout Australia.

Below documents my progress to date:

11 APRIL 2010
Initial email to Premier Kristina Keneally

"Mrs Keneally,

As the political race ensures, a suggestion of mine would be 'do something' about Sydney's musical theatre scene. I know not every person watches musicals, but there is a significant number who would feel pride at getting 'one up' over Melbourne if nothing else.

Elissa Blake wrote a fantastic, well researched article about this concern for Sydney in SMH's Spectrum (March 27-28), called "Culture Shock".

The article can be viewed here: http://newsstore.fairfax.com.au/apps/viewDocument.ac;jsessionid=AC11794F07117A61F04BECBB3F7AEC1C?sy=nstore&pb=all_ffx&dt=selectRange&dr=1month&so=relevance&sf=text&sf=headline&rc=10&rm=200&sp=brs&cls=11&clsPage=1&docID=SMH10032720IM33D9K9E

To direct you the the crux of the problem, I quote directly from Elissa's article (bold is my emphasis):

"
The producer John Frost, who opened the hit musicals Wicked and Chicago in Melbourne and will soon open Fame there, says Sydney is heading towards a crisis of venues in the next two years with the Capitol and Lyric theatres (both 2000 seats) and the Theatre Royal (deemed too small for most musicals at 1200 seats) expected to be fully booked.

"New shows won't be able to come into Sydney at all and when the Opera House does get around to refurbishing and the opera and ballet companies need new homes, it will be absolutely impossible to bring a new musical to Sydney," he says. "It will stop productions of shows altogether because you can't bring a show to Australia and not include Sydney."

Frost says the city urgently needs another 1600-seat theatre - and not one "that sticks out like a pimple with nothing around it. It will need to be surrounded by apartments, hotels, restaurants and bars. The public has a ferocious appetite for big musicals and they need to be fed.

"But the government will fart around forever ... you and I will be retired before they approve a new building. The bureaucracy will drive you nuts."

The director Neil Armfield says politicians in this city seem to "run a mile" when it comes to the arts. "[Victorian premier] John Brumby turns up to a lot of opening nights. He's a physical presence in the scene and there's great political pride in the achievements of Melbourne's artists," he says. "After Bob Carr, we've seen a procession of premiers who seem to be trying to distance themselves from the arts."

...

It's not just a matter of civic pride. Big new shows bring in big money. When Wicked opened in Melbourne and played for 13 months, it injected about $125 million dollars into the local economy. "That's a big chunk of money for any state to lose," Frost says. "Sydney should be the arts hub and not playing second fiddle."

Commercial theatre is attracted to Melbourne because Victorian tourism and events bodies are offering large, undisclosed amounts of money to producers on the understanding the show opens in Melbourne and everyone keeps mum about it moving to Sydney 18 months later. The private sector chips in so the hotels and restaurants can hoover up visitors from New Zealand and Queensland before the show opens in Sydney.

"

Reading the article in whole would give a much better indication of where the problem lies and effective ways to fix it.

I highly recommend reading the article if you have time, and I would love (not only as a musical consumer but a performer myself) to see Sydney back on top.

We have lost Hairspray, Rock of Ages and Lloyd Webber's Phantom sequel, Love Never Dies; lets give Sydney something other than the Sydney Festival to feel proud of when it comes to promotion of the arts.

Sincerely,

Maryann Wright"

27 APRIL 2010
Response from the 'Director General' of the NSW Premier and Cabinet

Today (6 SEPTEMBER 2010) I received this letter in the post
Direct response from the 'Director-General' of Communities NSW (under which coordination of the arts falls)

While it is nice that my letter was actually read and responded to in a more personalised fashion (why, Carol Mills even signed the actual piece of paper) it is one thing to write nice rhetoric and conduct an "audit of cultural facilities" and another to actually build a decent theatre and re-distribute money away from the land of men with too much testosterone kicking balls around on a grassy field in short-shorts and towards the Arts.

What do you think? Am I expecting too much? Does anyone think the Arts get enough funding as it is and we are crazy to think we deserve more money?

Home-grown performers to light up the Powerhouse stage?

WHEN the Casula Powerhouse re-opened it's doors last April I was thrilled.

Mostly because of the wonderful can of worms a fully-equipped, state of the art 326 seat theatre unhatched for the young and old alike.

Just think of the endless possibilities it presented for theatre-goers: live theatre, musical theatre!

Since April I have seen many shows at the Casula Powerhouse, Helpman Award winner Keating! was certainly a stand out.

However, while it is inspiring to see the Casula Powerhouse nurturing one-off performances of touring musical theatre productions, I'd like to witness some of our own creations.

There is a myriad of talented singers, dancers and actors in Liverpool who would jump at the opportunity to perform in a local production.

The buck doesn't stop there either.

In a musical there is a role for everyone: those who love to paint and design could artistically decorate the set while those who love to perform could light up the stage. Costume, prop and set designers are required. Stage managers, musicians, directors, music directors and choreographers give a piece of theatre life.

Putting on a musical would be a culturally enriching and community building undertaking.
It would also provide a creative and cathartic outlet for the youth to make friends, have barrels of fun and develop their skills.

We have the facility, now let's make the Casula Powerhouse's mission of helping to grow the creative industry in South West Sydney an even greater reality.

Let's take the next step and develop a musical theatre society.

I Dreamed (and am still dreaming) a Dream

Since I'd like to make a daily post, at least to get me started and my thoughts flowing, I have fallen back to letting it be known that I love to sing, and have been classically trained since I was 9. Only a few years ago when I was 13 I happened upon The Phantom of the Opera when my brother and sister-in-law took me to watch it at the movies while we were on holiday. Now, I know for all POTO fans, many do not approve of the film, but for me, it was a significant moment in my life because while I was there, as the chandelier rose and the overture pulsated through the cinema, I can't quite explain it, but I had this overwhelming feeling of belonging. Now I often get that same feeling when I am watching musicals live, or am in one myself.

Anyhow, to cut a long story short, that day I 'fell in love' with musical theatre, and that love remains just as strong, if not stronger.

Since then, I have moved into musical theatre repertoire for my voice and began taking a few acting classes before I was cast as the understudy to play Serena in Fame: The Musical two years later in 2006.

The picture below was taken while I sung one of the feature songs, 'Let's Play a Love Scene'.



That day when my time came to shine, I again felt at home, and I never wanted the show to finish!
It of course did, and later in the year I did a revue called Seasons where I was fortunate enough to play a leading role with numerous solos, duets and ensemble pieces. [I even got to perform 'What is this feeling' from Wicked before it became the next big thing. That was SO much fun!]

I have been banned from doing musicals since, due to the need to concentrate on my last two years of high school. Those two years have only come to an end in the last two weeks, so I'm now free to do another musical.

The only problem is I came down with a harsh case of laryngitis due to overworking my voice for my music performance. A combination of stress, lack of sleep and bad belt technique has meant my voice is still highly fatigued, and I am about to begin therapy in the next two weeks.
God willing, I will be back on the road to my dream in no time.

This was my last performance of a beautiful song written by one of the most talented musical theatre composers, Jason Robert Brown, before my voice gave out at a very inconvenient time. It's called 'I'm Not Afraid' from the musical Songs for a New World.



As you can probably gather from my above mini-life-story, if there would be one dream(career wise), I would love so much to be a professional musical theatre performer. I know the career is far from easy, and those who make it big time are like grains of sand in the ocean. However, now, as I look up to people like Sutton Foster, Idina Menzel, Stephanie J Block and other powerhouses who have been blessed with amazing talent, watching them and many others only fuels my desire to reach for the stars.

If there is the slightest chance that I could make it, I will take it. For the chance that maybe for just one day, I could truly shine.

May the fire for your own dreams always burn brightly.