Review: Hot Shoe Shuffle, 21st Anniversary revival Sydney

Hot Shoe Shuffle
5 July 2013
Lyric Theatre, Sydney

Happy 21st Anniversary to David Atkins and Dein Perry, creators of Hot Shoe Shuffle; one of Australia's most successful home-grown musicals.

There's no better place or time to revive the show. There's also no better place or time to revise the book.

The tap numbers are thrilling and impressive, just as you'd expect of co-choreographers Perry (who also created the international tap hit, Tap Dogs) and Atkins (a prominent figure in the musical industry who wears many creative hats).

But the cringe-worthy script needs a re-write. The thin, cheesy plot about seven brothers re-united through a phony ploy from their absent father to put on a tap show makes for a flimsy foundation to build a show upon. Worse still, the script is naff and cartoon-like, resulting in a cast of two-dimensional, unsympathetic characters and jokes that fall flat.

 
Musical numbers are hit and miss, and mostly provide good excuses for entertaining tap dances. That said, both of Jaz Flower's stand and sing numbers in the second act are knock-out. Flowers has an electric stage presence and plays an impressive Marilyn-inspired sensual bombshell.

The two acts couldn't be more different. The first presents an artificial, larger-than-life world filled with colourful costumes and a cardboard-cut-out set reminiscent of Hairspray. The second is classy, ritzy and a homage to the best of old-school Vaudeville - with top hats, coat tails and the gorgeous orchestra in full-view. The second act is better than the first, mostly because the characters talk less and dance more, but also because the set and costume design better complement the style of the show.

As an entire musical, the highs are high - such as the talented Bobby Fox's tap solo which merits its own standing ovation. But the lows are low - thanks to a poor script that isn't helped by over-the-top, superficial, bad acting performances by the cast.

Hot Shoe Shuffle displays many of the strengths and weaknesses of the Australian musical theatre industry: fantastic dance talent yet poor acting performances, crafted moments of incredible spectacle that sit alongside uninspired scenes that fall flat, and an abundance of energy for a show that still need fine-tuning.

Australian audiences should see Hot Shoe Shuffle for the fantastic, highly-skilled tap numbers that showcase our home-grown choreography and dance talent. They will just have to forgive some of the silliness.

$20 student tickets available on the day of performance at the Lyric Theatre.
For tickets, visit http://www.hotshoeshuffle.com/tickets-sydney
Showing in Sydney 5 July - 4 August, Melbourne 9 August - 1 September

Review: Ragtime 2012 Regent's Park Open Air Theatre

Ragtime

Monday 28th May 2012

Regent’s Park Open Air Theatre, London

Ragtime is a special musical. Executed well, it's music (Stephen Flaherty) and message (book by Terrence McNally) about racial harmony stay with you long after the curtain. There was no curtain in Regent's Park Open Air Theatre (rather, a blackout in the park) but Ragtime still hit the spot, boosted by its courageous attempt at a post-modern setting. Having a canopy of stars twinkle above your head during the show didn't hurt, either.

Originally set in America at the turn of the Twentieth Century, the Open Air production takes place in a disturbingly present-day, decrepit pocket of New York City amidst what seems to be the rubble remains of a bombed building. When the audience take their seats, performers are lurking around its dusty remains. If it were not for their aggrieved and vacant expressions, the performers are indistinguishable from the audience by their modern dress. A large banner with US President Barack Obama’s face draws focus and suggests we are sitting in a post-post-Twin Towers era perhaps years into the future when “Yes We Can” Obama failed to “Change” America for the better.

From that moment onwards, the production plays with the notion of time and space as the cast transform from our contemporaries to our ancestors of decades past in period costume. The juxtaposition suggests the old adage that times have changed but things are very much the same. We may no longer live in a black/white segregated world but racial barriers and racial-driven hatred is still present in society. Discourse surrounding Muslims in the Western media spring to mind.

The irony is strongest during "Wheels of a Dream" where segregated black couple Coalhouse and Sarah dream up the unlimited possibilities for their infant son in this new America, the "land of possibilities". Coalhouse Junior could go to school, learn to read, become a musician, or even the President of the United States - who so happens to be their poster backdrop. The writing, literally, is on the wall. The American Dream is hypothetically within their reach but the reality of America's broken promises continually stifles their hopes as the couple are continually discriminated against, even in simple tasks like buying a car.

The cast were strong overall. Mother (Rosalie Craig) and Tateh (John Marquez) shone in their leading roles particularly with their moving rendition of "Our Children", a highlight of the show. Australian-born and newly London-based Tamsin Carroll is a standout as famous anarchist Emma Goldman, and Harry Hepple as Younger Brother has a divine voice. Katie Brayben’s scandalous Evelyn Nesbit is also a delight. Rolan Bell (Coalhouse Walker) and Claudia Kariuki (Sarah), however, pushed too hard. There were excited murmurs in the audience at the beginning of the heart-breaking “Your Daddy’s Son,” but Kariuki lacked the storytelling and vocal chops to convey Sarah's all-consuming grief. Bell came out all guns blazing but lacked dynamics in his choices. Amidst the letdown, Craig’s “Back to Before” was the show-stopper that the audience was waiting for.

Open Air's Ragtime offers a visual, emotional and sensory treat. If you have good weather, the setting is enchanting. Better still, the post-modern contextual setting is provocative and, like the best of theatre, challenges the audience to leave the theatre with an open mind and a kind heart.

Tickets at http://openairtheatre.com/production/ragtime-the-musical

Review: Sweeney Todd 2012 West End revival

Home again: Sooty London streets humming to the tune of Sondheim

Sweeney Todd: The Demon Barber of Fleet Street
Thursday 21^st March 2012
Adelphi Theatre, London

Sweeney Todd has created a lot of buzz in London this season. The Sondheim favourite isn’t a stranger to West End audiences; it gets revised every four or so years. What has tongues wagging is the cast – lady of laughs Imelda Staunton as Mrs Lovitt and aging romantic heartthrob Michael Ball as a middle-aged Anthony…eh, Sweeney Todd?

Staunton seamlessly moves between film and theatre, and Mrs Lovitt is no stretch for her talent. Her comedic timing is impeccable and she skillfully pushes the audience from hysterics in “By the Sea” to authentic fear when Lovitt's evil and twisted side is revealed. Ball is a less logical fit for the title role. After decades known to audiences for his trademark romantic hero roles, he makes an admirable transition to twisted barber. Heavy-set with an oily comb-over, he's almost unrecognisable if not for his unmistakable vibrato. Ball crafts a sufficiently creepy and sympathetic Sweeney and has great chemistry with Staunton, keeping tension taught in their strained but civil relationship.

James McConville gave a formidable performance as the agile and waif-like Tobias, winning the audience with his sweet rendition of “Not While I’m Around”. Luke Brady as Anthony lacked the effortless tenor vocal chops. The chorus were light on sopranos; a fuller top range would have given the “Ballad” reprises more depth to balance the baritones and basses, but some sympathy is deserved considering the ridiculously high soprano vocal score.

Sondheim’s music and lyrics are a witty and sensory delight; from the haunting operatic “Ballad of Sweeney Todd,” to the shocking irony of Sweeney's contemplation of the “history of the world” through the frame of Lovitt’s pie shop (“those below serving those up above” and man literally devouring man), to the final grating plot twist that sees Todd so obsessed with revenge that he doesn’t notice his own wife.

The set is minimalist but clever. The invisible partitioning of the stage to represent each character's abode creates consistency and allows the audience to preempt disaster. However, the lever/trapdoor that rises from beneath the stage quickly loses its symbolism due to lazy scene transitions.

The 2012 West End revival of Sweeney Todd makes for a highly enjoyable night of theatre, not at the least because it is a rare opportunity to watch Sondheim's work on the main stage.

Tickets at http://www.ticketmaster.co.uk/Sweeney-Todd-tickets/artist/804360

Review: Ghost - the musical without a skeleton

Ghost: The Musical
Wednesday 7th March 2012
Piccadilly Theatre, London

My expectations for Ghost, the musical after watching a tear-jerking performance of “With You” at a charity concert were high. The song’s subtle meaning and fragile delivery took me to that vulnerable place where I began contemplating the mortality of my loved-ones. Sadly, one good song and some impressive illusions are about as good as it gets.

The greatest disappointment and most easily fixed problem is the casting of the leads. Soul mates Sam and Molly are demanding characters with constant emotionally charged scenes but Mark Evans and Siobhan Dillon didn’t have the acting chops. Rather than evoking sadness and anger, what eventuated was whiny at times, overly dramatic at others, and more frequently disconnected from emotion altogether.

It didn’t help that the actors had a poor libretto (book by Bruce Joel Rubin, music by Dave Stewart and Glen Ballard) to work with. The first few scenes before Sam’s death were meant to set up his loving relationship with Molly, but the overriding picture was that of a cocky artist with the personality of a goldfish. Their interaction was limited to arguing about a Princess Leia poster, Sam’s inability to say the “L word” and copious amounts of make-out sessions. As a result, there was almost no sense of loss at his death and the rest of the show fought an up-hill battle to make the audience feel emotionally invested in the story.

The score is mostly repetitive, with melodies that go nowhere. The climax of most songs are signaled by the loudness of the orchestra rather than complex tonal progressions and rhythms. Particularly disappointing was “I Had a Life,” which had potential to be an electric shock to the audience as they discover the true reasons behind Sam’s death and instead consists of angry repetition of the phrase “I Had a Life” to an anti-climatically stagnant melody.

Oda Mae Brown (Sharon D Clarke) had the best material to work with, and she delivered it well. She carried all the lightness of the show on her shoulders and her comic timing was very good.

Illusions (Paul Kieve) are the highlight of the show. The revenge scene in the second act gives off a very Matilda-esque vibe and the use of highly advanced tricks to make objects move on their own accord is exciting to watch. The subway scene where commuters and their belongings are thrown around the carriage by the Subway ghost was unique and impressive.

The illusions are aided by a fantastic set and lighting design, and good direction by Matthew Warchus. The ensemble had little to do, but the transition scenes where they walked and danced in front of tall, vibrant projections was an effective way to unobtrusively move large set pieces.

If Ghost is a box office success it is not because the show is good but because it is commercially viable. People having loved the film will want to relive the story onstage. And they’ll get to. But Ghost is a show without a skeleton. On the outside it looks the same as the classic film, but on the inside it lacks the necessary structure to support its own weight. With a more complex plot, a libretto that showed love, grief and hope through melodies and actions rather than cliché words, stronger lead actors, and a more diverse and layered score, the show may have potential to be popular for its own merit rather than simply because it is adapted from a famous movie.

Ghost is yet another example of why commercial musicals are doing nothing for the creative energy of theatre on the West End. The West End is crying out for an original story and an inspired score. Matilda is enough to placate for now (and it is truly fantastic), but when a revival of Sweeney Todd (a 30-year-old musical) is one of the few exciting recent developments hitting the main theatre circuit, there is cause for concern.

Tickets at http://www.ghostthemusical.com/

Review: Matilda, the musical (West End)

 
Review 
Matilda, the musical 
Music and lyrics Tim Minchin, book by Dennis Kelly 
Wednesday 11th January 2012, 2:30pm 
Cambridge Theatre, London

Musicals don’t get much better than Matilda. The show has adults and children clapping, crying, gasping and jumping of fright in unison from start to finish.

Tim Minchin (music and lyrics) is a wordsmith, and his work resembles the sharp wit and tinkering tunes of Stephen Sondheim, together with a unique Minchin sense of fun and childlike humour.

Minchin cleverly navigates the original Roald Dahl novel while creating minimal resemblance to the film. The most jarring differences make for the most fun. Frightening schoolmistress Miss Trunchbull played by a camp, fierce but altogether male Bertie Carvel is a quirky change that breeds one hilarious moment after another.

Tricks and special effects are original and impressive, as is the complex but uncluttered set design. From swings that fly above the audience to towers of books that spell words, and chalk that hovers mid-air, no penny or strike of artistry has been spared. The overall effect generates a child-like wonder combined with a fantasy dream-world of bold colours and magical things.

The show is impeccably cast, particularly the girls who play Matilda. Matilda is a demanding role regardless of age, and Cleo Demetriou - a little dynamite of confidence and ability - blitzed through the show without flaw. I was in tears by curtain call to see such a talented little girl dwarfed by the adult cast standing centrestage taking her well-earned bows.

The messages and themes of Matilda are inter generational. As a child, I saw the story through the eyes of Matilda – a girl who is nurtured by a teacher who understands, protects, and challenges her. Revisiting the story ten years later, I didn’t anticipate how much I would identify with Miss Honey and connect with her loss and sense of completion through Matilda. The show reminds us that, like Miss Honey, we bring our childhood with us through life – both the good and the bad parts.

Matilda is a complete package, perhaps not filled with Phantom-esque show-stopping songs, but with a robust, cohesive creative vision. The music, book, set, costume, cast, direction and sound design compliment and enhance each other almost to perfection. I expect Matilda to sweep the upcoming awards season and successfully tour around the world. Plus, a very warm welcome from the musical theatre community to Tim Minchin. I only hope he stays and continues to write good musicals – there is definitely room for them.

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!

Review: Doctor Zhivago musical, Sydney

Photo credits: Kurt Sneddon

Doctor Zhivago, 1 April 2011, Lyric Theatre, Sydney

Australia is so fortunate to have Lucy Simon and her team pick Sydney to premiere her breathtaking musical.

The production was of an international standard- from the casting, to the set and lighting design, costumes, direction, libretto, and, of course, the sweeping musical score. There was little to fault in this show.

What was particularly surprising was how well the musical (based on Boris Pasternak's novel of the same name) documented Russian history through the tumultuous time of World War I, the Bolshevik revolution, the Russian civil war and the people's plight under the Tsar, Lenin and then Stalin.

Anthony Warlow's (Zhivago) voice is heaven, and Lucy Maunder's (Lara) soprano is clear and beautiful. The ensemble did a fantastic job, and scenes with the whole company packed a punch- especially the opening song "Two Worlds" which set a dramatic and yet informed tone.

The production was a visual feast; Teresa Negroponte's costumes during the aristocratic high-time were intricate and elegant, and the bitter Marxist uniforms post-revolution gave insight into the culture and politics of that historic moment.

Michael Scott Mitchell's set design was clever and versatile. From dramatic, lavish pillars of a ballroom transformed into brick walls falling apart during the second act; just like the old saying goes- a picture tells a thousand words.

Lighting design by Damien Cooper added that extra layer of perfection. The Red Army marching forward with only the lights on their guns illuminating the theatre was powerful, as were the misty scenes on the battlefield.

Composer Lucy Simon and lyricist pair Amy Powers and Michael Korie know how to write a good song- or twenty. The show is long but there is not a dud tune from start to it's three-hour-long finish. "Now" is a stand out, as is "It Comes as No Surprise" and "Love Finds You".

The orchestra was another slice of heaven under the musical direction of Kellie Dickerson. With the cast in full voice and the orchestra rising above it still, the sound was so full and flawless it paid testament to why there is nothing quite like live theatre.

Also, full credits to sound designer Michael Waters for reminding us of the unmistakable warmth of having live music coming at you from all angles. It's hard to imagine that in pre-production the stage was completely bare- floor to grid- without a piece of sound equipment in sight. The levels of the orchestra and cast were so well balanced my mind didn't stray to thinking about sound levels throughout the entire show- which is a good thing.

The musical flows seamlessly with high energy from scene to scene, and with history moving so fast- particularly in the first twenty minutes- director Des McAnuff does a superb job of continually driving the action forward.

My only critique would be a few moments of over-acting, but as the actors relaxed into the show and the emotional-intensity became a mainstay, I was quickly completely engrossed in the fantasy world of early-20th Century Russia. Some lines were a little melodramatic, too, but completely forgivable.

My only disappointment is that I didn't see it sooner and have a chance to take my family to see what I will always remember as a special little bit of Australian musical theatre history.

I have every expectation that the show will be a success overseas, and I wish the creative team every blessing that it will touch the hearts of those around the world.

I feel lucky that Sydney was picked to premiere this beautiful musical, and if you get a chance to see Doctor Zhivago in either Melbourne or Brisbane on its Australian tour, I would highly recommend sharing the joy by taking your friends and family- and some tissues.

PUBLISHED: Jack Chambers interview

I'm a new monthly contributor for Dancelife Australia and here is my first interview with Australia's own Link Larkin in the musical Hairspray, Jack Chambers.

He talks about how he got the role, how he found the rehearsal process reuniting with Jason Coleman and how he's enjoying the show's run in Melbourne.

http://www.dancelife.com.au/blogs/entry/INTERVIEW-WITH-JACK-CHAMBERS-LINK-LARKIN-IN-HAIRSPRAY

Curtains backstage and professional pictures

Some shameless self promotion...

When I am not writing, working or studying, I sing, dance and act. Hooray!

This is my performance of the song, "The Fire Within Me," from the beautiful musical, Little Women (lyrics by Mindi Dickstein, music by Jason Howland).

At this point in the musical, Jo March (the protagonist) is grieving the death of her sister (Beth) and is trying to figure out what to make of her life and decide where to go from here.

Little Women Opening Night: 'Amazing', 'Astonishing', and so much more

Tonight I had the privilege, as the Kookaburra Kids Youth ambassador, to attend the Opening Night of Australia's premiere production of Little Women: The Broadway Musical.

The very first thing I want to say is; what a wonderful way to spend three hours of your life! I would heartily recommend it to anyone, young or old.

Little Women, based on Louisa May Alcott's 19th Century novel, follows the tragedies and triumphs of the four March sisters - feisty Jo(an aspiring author), romantic Meg, pretentious Amy, and kind-hearted Beth - and their beloved Marmee, at their home in Massachusetts while their father is fighting in the Civil War.

I found a quote in the program interesting:

"Louisa May Alcott did for women what Thomas Edison did for the light bulb: gave them a new gleam of importance and respect never before seen in the society of the day."

Emma Caddy; Little Women theatre program.

In a way, Little Women pushed boundaries in it's 1860s Victorian context. Rowdy and tomboyish Jo paid no heed to societal conventions and rather independently sought to forge her own path led by the passion and desire she found within herself. Although the musical is a period piece, its themes of family, friendship and search for love and meaning in life are timeless.

What is most uplifting about the story, however, is Jo's fighting spirit. She has a good heart and gives her all, never giving up on her dreams, even when times get tough. Jo is a fantastic heroine, and her hopefulness and determination can speak to any generation.

When approaching the musical, I was no stranger to Little Women. Of course I had seen the 1994 version with Winona Ryder, and knew the touching story like anyone, however the 2005 original Broadway production staring the phenomenal Sutton Foster is what caught my eye.

Not only is the script witting and charming, but the music soars. I believe it can stand up to the megamusical giants. I wouldn't quite say 'move over Phantom of the Opera, Wicked, and Les Miserables, here comes Little Women', however there is something about this musical that provides an ultimate enchanting evening. It has a winning combination: a touching story, beautiful music, visually stunning costumes, and an outstanding cast(and direction).

Australia's very own take, via the talents of director Stuart Maunder, was of a very high standard. The set design was intriguing, particularly the use of a two part-revolving stage(in theatre of the round) to change scene location and enhance solo performances. The costuming was simply perfect, full of vibrant colours and intricate detail with fitting shade patterns for each character. Direction was seamless and the choreography(Martin Michel) left me wanting to get up and join in the fun!

More than anything, the key stand-out feature of the production was the perfectly-suited cast. Anyone who criticises Australia for lacking talent needs to see this musical. For Kate Maree Hoolihan(who is a lovely person to chat to), it seemed as though Jo, the 'lead', was made for her. Her acting was phenomenal, and she gives every performance so much energy, you cannot help admiring her. Kate Maree performed Jo with all the gusto and spirit she required, and added a little of her own spicy self into the mix, nicely so.

Jodie Harris who played Beth also has a beautiful voice, quite similar to Megan McGinnis of the original cast (with less vibrato). I could listen to her voice all day, and her performance of 'Some things are meant to be' was touching.

Hayden Tee played a very convincing Fritz. He had an impeccable German accent and baritone voice, I would say the most flawless of the cast.

Other than Kate Maree Hoolihan, the other stand out was Erica Lovell's performance in the role of Amy. This surprised me as Amy is such a dis-likable character, which usually turns me off admiring the actress as much as you would the heroine(as silly as that sounds), however the fact that she was absolutely hilarious is no under-statement. I laughed, and laughed, and laughed as the animated Erica pranced and sulked around the stage. In fact, when my eye was not drawn to a particular spot, I often found myself watching Amy's reactions. Erica Lovell is a polished all-round performer and highly entertaining to watch, and for her musical debut she gave an outstanding performance.

Of the other members of the cast, Trisha Noble was a very good Marmee, Judi Conelli delivers as expected as Aunt March, Octavia Baron Martin is always a pleasure to watch and shines onstage with a natural beauty about her(very fitting for Meg), David Harris as John Brooke is charming, Phillip Hinton plays a earnest Mr Laurence and Stephen Mahy was a lovable Laurie. Each cast member truly did a wonderful job(and I would not say that unless I utterly believed it). They interacted like a real family, creating a very warm and safe atmosphere, just like a family home. This ony draws us, the audience, even further into the beautiful tale.

As someone who loves musicals, and has seen and listened to her fair share of them; the good, the brilliant and the not-so-good, I would categorise this production as brilliant. In the end, I can, in no major or minor way fault it.

I honestly approached tonight excited, but feeling Kate Maree and the cast had big shoes to fill(playing such beloved characters and proceeding theatre legends such as Sutton Foster and Maureen McGovern), however I simply cannot wait to see the show again this Saturday and the following Sunday.

Although I am not naive enough to believe musical theatre is for everyone, if I were asked to recommend a musical, this would certainly be in my top three(following Phantom and Wicked- yes, I'm a sucker for mega-musicals).

More than anything, I urge all of you to spend a little of your time and money to see Little Women while it runs it's limited 5 week season.

I am not only saying that because I believe Kookaburra has, and is, doing wonderful things for Australia as our very first national musical theatre company, and will play an integral role in the future of Australian musical theatre, pathing the way for aspiring performers like myself. It is because I cannot express just how much I believe others will thoroughly enjoy this musical and production, even if musical theatre isn't 'your thing'. I took a friend of mine, who had never been to a live musical in his life, and he loved it and sang it's praises the entire way home.

Also, the beautiful musical direction by the extremely talented Peter Rutherford (Composer of the new Australian musical, the Hatpin, among many other musicals) cannot go unmentioned. Peter is a very insightful young man, and a great asset to the Australian arts.

To conclude, I strongly urge you all to watch Little Women, you will not regret it.

And after you have seen the show, let me know your thoughts and post your own personal review, I'd love to hear them!

DETAILS:

Location: Seymour Centre(York Theatre)

Season: Nov 5- Dec 7

For direct tickets, visit: http://secure.seymourboxoffice.com.au/tickets/production.aspx?PID=33288

Or access through Kookaburra's site: http://www.kookaburra.org.au/Shows/Calendar20082009/LittleWomen/tabid/87/Default.aspx

I'm including loads of photos because there are so many beautiful ones I couldn't choose!

Taaha and I at Opening Night:

Forsyth's take on Phantom, a distasteful beginning

Being a Phantom of the Opera fanatic(I will not go into the extent to which I tag myself this, for it can be assured an epic essay will be the only result), I thought I would use my free time wisely and read what Sir Andrew Lloyd Webber has chosen to base the sequel of his musical on; Frederick Forsyth's The Phantom of Manhattan.

The preface was good and it was clear Forsyth had done his research however bias he appeared in delivering it. In other words, Leroux was practically crucified and Lloyd Webber idolised, which was by no means surprising considering Webber had given Forsyth his blessing on the eve of the novel's creation.

From here things went downhill awfully quickly- and believe me when I say I did have high hopes and wanted more than anything to like this book as it potentially could make my life just that little bit more complete. Fate nor favour was clearly not on my side. A mere ten pages into the novel, and I could not bring myself to continue reading.

'Comtesse Christine de Changey', 'Comtesse Christine de Changey', 'Comtesse Christine de Changey'. Every time I read that vile phrase my blood boiled.
If you know your Phantom, then you would know there is a distinct difference between EC and RC shippers. EC being a pairing between Erik(aka the Phantom) and Christine, and RC a Raoul(the fop) and Christine relationship.

To understand me and my strong feelings, you must know that I would rather cut off my left leg than become an RC shipper.

It was bad enough that the original musical ends with Christine running off with Raoul. The thought of actually seeing her married to him is completely unacceptable and ironically more unrealistic in my eyes.

As extreme as this may sound, if the Lloyd Webber musical does not end with an EC pairing in which Raoul and Christine annul their union, or worse than this, if the recycled plot line of the ego(Christine) and it's struggles against the id and the superego, with the superego winning is repeated, I will refuse to watch the musical.

Tragedy is obviously not 'my thing' and I am all too quick to sympathise with the underprivileged and downtrodden. To see the disadvantaged given a chance and then have fate smack him or her back in the face to only emotionally damage them even further is just damn infuriating!

Wuthering Heights was enough for me, give me Beauty and the Beast any day.

Roll your eyes, but I would rather live in my fantasy land where all is as it should be than watch such blasphemy.

Conclusion:
Lloyd Webber, be warned. RC, and this phan will have no more of your dalliances with my beloved Erik. I will have absolutely none of it. My ties and alliance shall be cut and buried deeper than the Paris Opera House dare reach.

May beloved fanfiction sooth the woes of EC shippers around the world until that day comes when EC shall rise from the ashes and rule the world.
mwahahahahaha!!!

Until then,

Your faithful servant,
OG ... I mean Maryann