Wednesday, 22 January 2020

Cats (Youth Production), Jan 18, 2020 ****

Book by T.S. Eliot; Music by Andrew Lloyd Webber; additional material by Trevor Nunn & Richard Stilgoe; by Young Australian Broadway Chorus (YABC) 
at National Theatre, St. Kilda, until Jan 25, 2020 
Reviewer: Kate Herbert 

 Review also published in Herald Sun in print only on Wed 22 Jan 2020.  Pics: Kit Haselden Photography
YABC_CATS_Left Mungojerrie-Matthew Casamento_Right Rumpleteazer-Adeline Hunter

Andrew Lloyd Webber’s enormously successful musical, Cats, is the ideal vehicle for these youthful, talented performers who hurl themselves heart and soul into Robert Coates’ production for the Young Australian Broadway Chorus (YABC).

Lloyd Webber, Trevor Nunn and Richard Stilgoe based their rather flimsy narrative on T.S. Eliot’s collection of poems, Old Possum’s Book of Practical Cats, but added plenty of lively music, songs, and quirky, feline characters.

The tribe of Jellicle cats lives and frolics away from prying human eyes. On this night in the Jellicle world, Old Deuteronomy (Harrison Dart) will choose one cat to be reborn into a new life on the Heaviside Layer.

The clever design (Dann Barber) sets this production in a dilapidated theatre, and the cats wear extravagant, vivid costumes (Sean Rentero), with tattered Edwardian gowns and top hats mixed with 1920s flapper frocks and kitty make-up.

With 80+ in cast and orchestra, all aged 8 to 18 years, Coates’ direction is imaginative and deft, and the vivacious energy of this youthful chorus is undeniable. Like their animal counterparts, these felines are alert and nimble, with Jacqui Green’s effervescent choreography being a highlight.

Occasionally, the stage seems overcrowded, which is to be expected when you are - well - herding cats.
Cast of Cats YABC
Suzannah Bourke is compelling as Grizabella, the former Glamour Cat who is now shabby, stooped and grizzled, and her powerful soprano does justice to the moving song, Memory.

Praise goes to other leads, including: Kristen Robertson as Jennyanydots; Patrick Rogers as Skimbleshanks; Matthew Casamento and Adeline Hunter as acrobatic duo, Mungojerrie and Rumpleteazer; Tim Bland as Gus the Theatre Cat; Declan Ahern as magical Mr. Mistoffelees; and Nathan Derix-Brown as villainous, elusive Macavity.

Cats has adoring fans worldwide, although its critics believe the flaws outweigh its successes. People love or hate Cats, but die-hard fans of the stage show should be delighted with this energetic production.

by Kate Herbert 

Grizabella-Suzannah Bourke

Wednesday, 15 January 2020

Alice in Wonderland, Jan 10, 2020 ****

by Lewis Carroll, adapted by Glenn Elston
at Rippon Lea House & Garden, until Jan 26, 2020 
Reviewer: Kate Herbert 
Stars: ****

Darcy Dann &Ayesha Gibson_Alice in Wonderland

Lewis Carroll’s Alice in Wonderland is nifty nonsense and Glenn Elston’s theatre adaptation is a nutty, chaotic and nonsensical blend of rhymes, characters and songs for little kids and their parents.

Alice (Ayesha Gibson) goes on an adventure that is all terribly, terribly English as she encounters the White Rabbit (Darcy Dann) who is always late, visits the Mad Hatter’s (Dennis Manahan) Tea Party, meets the Duchess (Claire Nicholls), and plays Croquet with the oversized Queen of Hearts (Madeleine Somers).

Directed by Otis Elston, this playful, vividly colourful, outdoor (but under cover) performance provides participation at every opportunity, with the children singing along, shouting ‘He’s behind you!’ and calling out the time on the clock.

The wacky characters keep coming, and the children giggle and shout at Humpty Dumpty, Tweedledee and Tweedledum, the Caterpillar and the grinning Cheshire Cat.

Even the adults join in, dressing up as playing cards for the Queen’s Croquet match while the tiny tots crawl through their legs like croquet hoops.

As Alice, Gibson is suitably naïve, pert and clever in her blue and white frock, while Dann’s White Rabbit is a posh, smartly dressed bunny that snaffles picnic food while people are watching the croquet.

Manahan is delightful as the Mad Hatter, engaging the audience and leading songs, and his signature tune, I’m Mad!, is a highlight for young and old.

Nicholls has fun as the Duchess, revelling in her frightening song, ‘Speak roughly to your baby’, as she tosses her tiny baby doll in the air and feeds it pepper.

The eccentric costumes (Karla Erenbots) and cartoon-like set (Sarah Tulloch) are vibrant, candy-coloured and almost edible.

This vivacious, participatory performance is perfect for littlies and their parents who can enjoy the entertainment and the idyllic garden surroundings of Rippon Lea.

by Kate Herbert

Wednesday, 8 January 2020

Hamlet, Jan 4, 2020 ***1/2

By William Shakespeare, Australian Shakespeare Company 
At Botanical Gardens, Southern Cross Lawn, until Jan 31, 2020 
Reviewer: Kate Herbert  
Stars: ***1/2
Review also published in Herald Sun in print (not online) on Wed Jan 8, 2020. KH
Hamlet - Andre de Vanny-Photo by Nicole Cleary
While Hamlet is not the usual cheery, Shakespearean comedy-romance in the Gardens, here’s your opportunity to catch one of Shakespeare’s most famous and much-quoted tragedies – all while sipping wine and snacking under the stars.

Hamlet has all the human drama of a high-end soap opera: beloved father dies; traumatised son grieves; mother marries uncle much too quickly; son suspects foul play, feigns madness and alienates loved ones; chaos and tragedy ensue.

There is a ghost, a fool, an acting troop, a spurned lover, a suicide, sword fighting, poisonings and a final scene littered with bodies.

The moonlit, natural environment heightens the thrilling, relentless path to tragedy and intensifies Shakespeare’s superb poetic language.

Although the acting is uneven across the cast, Glenn Elston’s production is dynamic and deftly directed, with several standout performances.

Andre de Vanny’s Hamlet is a boyish, mercurial, energetic and brooding prince, and he makes sense of Hamlet’s many long, philosophical monologues as the character negotiates his rocky path from bereaved son to avenger of his father’s murder.

Brian Lipson’s old Polonius is daffy but believable, and his performance is delicately nuanced and a delight to behold, with his every verbose speech being delivered with clarity and intense joy. It is a lesson in performing Shakespeare.

As Gertrude, Hamlet’s mother, Alison Whyte shifts effortlessly and credibly from stately matriarch to grief-stricken queen, while Dion Mills plays the Ghost of Hamlet’s father with quiet dignity, and Matthew Connell’s Horatio is composed and understated.
Hamlet - ASC - Alison Whyte and Dion Mills, Photo by Nicole Cleary
Emily Goddard’s Ophelia is feisty but lacking subtlety, Andrew Coshan looks uncomfortable as Laertes, while Mark Wilson understudies the role of Claudius until further notice (Greg Stone in unable to perform the role due to illness).

Despite some shortcomings, Elston’s production brings clarity to Shakespeare’s language and characters, providing a rare opportunity for those unfamiliar with the Bard to immerse themselves in the world of Hamlet without the strictures of a traditional theatre.

by Kate Herbert

Friday, 3 January 2020

The Choir of Man, Dec 30, 2019 ****1/2

Presented by Andrew Kay and Nic Doodson
At Playhouse, Arts Centre Melbourne, until Jan 12, 2020 
Reviewer: Kate Herbert 
Stars: ****1/2
Review also published in print ( not online) in Herald Sun on Friday Jan 3, 2020. KH
Front_George Bray, Ben Langridge_image credit David and Chris Cann
The Choir of Man is just the ticket if you’re after a rollicking, musical night of singin’, talkin’, dancin’ and drinkin’ in the New Year.

Nic Doodson’s vivacious, uplifting and celebratory 80-minute production is set in an old-fashioned, English pub called The Jungle in which nine multi-talented blokes – AKA The Choir of Man – dance, spin yarns and sing a repertoire of pop songs, rock anthems, pub and folk tunes.

The show is filled with thrilling harmonies and a cappella singing that will raise the hairs on your arms, inspired musical arrangements (Jack Blume) of instruments including guitar, piano, banjo, trumpet, clarinet and violin, as well as the foot-stomping, percussive rhythms of a tap dancer (Guy Salim).

The audience is encouraged to participate, not only by singing along, but also some lucky bodies are invited on stage to drink beer, be serenaded one-on-one, or included in a raucous rendition of The Proclaimers’ 500 Miles.

Doodson’s direction is inventive, assured, complex and seamless, while the poetic, social commentary (Ben Norris) spoken by Narrator, George Bray, laments the loss of pubs to luxury apartments – ‘the easy casualties of time’ – and encourages us to value community and communication.

This joyous show has many highlights: a soaring and moving rendition of Adele’s anthemic song, Hello (Johnny Sheehy); a raunchy version of Queen’s Somebody to Love (Tom Gadie); a rousing You’re the Voice (Mikey Shearer) with singalong; and Sia’s Chandelier, sung a cappella.

The nine men display their musical versatility in an instrumental number, three men sing a goofy trio standing at a urinal, and Bray delivers the poignant melody, Dance With My Father.

This vibrant production not only entertains but also urges us to preserve the spirit of those close-knit communities that used to meet at their local for a few brews and some yarn-spinning – until developers bought the block!

By Kate Herbert
Front-George Bray_image credit David and Chris Cann

The Wind in the Willows, Dec 27, 2019 ****

by Kenneth Grahame, adapted by Glenn Elston
at Botanical Gardens, Gate F, until Jan 26, 2020 
Reviewer: Kate Herbert 
Review also published in Herald Sun in print ((ot online) on Friday Jan 3, 2020. KH
 The most treacherous creatures for outdoor children’s performers are the kids themselves, and actors in The Wind in the Willows in the Botanical Gardens sometimes contend with little ones mobbing the stage.

Their participation is encouraged, albeit controlled, in Otis Elston’s production of Kenneth Grahame’s beloved story of Toad of Toad Hall (Ryan Hawke) and his creature cronies.

The enthusiastic children sing ‘Waggle your ears, wiggle your nose,’ and ‘Quack quack quackady-quack’, roar laughing at the antics of Weasel (Paul Morris) and Head Chief Rabbit (Callum O’Malley) , then go on a dangerous mission with Ratty (Isaac Broadbent) and Badger (Chris Asimos) to rescue little Portly the Otter (Cierra Shook/Kempton Maloney) from the Wild Wood.

This 2020 production includes some recasting, new comic bits and some more updated pop songs with witty lyrics for the adults.

Morris is the hilariously sly and sleazy Weasel who invades Toad Hall with his weasel mates, wielding giant water pistols filled with ‘weasel wee’, to the children’s delight.

O’Malley hosts the show as a youthful and charming Head Chief Rabbit, leading songs, playing guitar and, with Morris as Weasel on mandolin, entertains the parents with witty new lyrics to pop tunes.

Wearing a suitably gaudy green and pink outfit, Hawke is gleefully flamboyant as the vain and manipulative twit, Mr. Toad, who is obsessed with every sporty fad from canoeing to motorcars and gets himself arrested and sentenced to 40 years for car theft.

Broadbent is playful as the down-to-earth, river-dwelling Ratty who loves ‘messing about in boats’, while Alex Cooper plays Otter as well as a smug Policeman and a doddery Judge.

Asimos is suitably pompous and long-winded as the black and white Badger who – according to Weasel – looks like a renegade from Kiss or, worse, a Collingwood supporter, while Chloe Bruer-Jones is sprightly as the timid Mole.

Willows is ideal summer family entertainment so, pack a picnic, but guard your snacks and wine with your life, because Rabbit and Weasel will raid your hamper.

by Kate Herbert

Tuesday, 31 December 2019

The Choir of Man, REVIEW coming Friday Jan 3, 2020.

I will post my review of The Choir of Man this coming Friday Jan 3, after it hits print.
 Suffice to say, see it before Jan 12  in Melbourne or wherever it goes after that. KH
Front-George Bray & Ben Langridge_image credit David & Chris Cann
Front-George Bray_image credit David & Chris Cann

Friday, 20 December 2019

Chicago, Dec 19, 2019 ****

Lyrics by Fred Ebb, music by John Kander, book by Fred Ebb & Bob Fosse
Based on the play by Maurine Dallas Watkins
At State Theatre, Arts Centre Melbourne, until Feb 23, 2020 
Reviewer: Kate Herbert
This is a short review and it is NOT published in Herald Sun. KH
Alinta Chidzey, Jason Donovan, Natalie Bassingthwaighte
It's saucy. It’s sassy. It’s sexy. It’s Chicago, and it’s back on stage in Melbourne with a celeb-studded cast and plenty of seductive and vivacious dancin’ and singin’.

This Australian production of Kander and Ebb’s musical, is based on the New York production and the choreography captures the essence of Bob Fosse’s unforgettable, pulsating, almost indecently sensual choreography.

Alinta Chidzey is a stand-out as the spicy, feisty murdering Velma Kelly. Chidzey is a genuine triple threat – singer, dancer, actor – and her rendition of All That Jazz with the ensemble was almost a show-stopper – at the start of the show.

Natalie Bassingthwaighte is pert and impish as Roxy Hart, the newest murdering bimbo in gaol and Velma’s rival for public sympathy generated by outrageous lies from their publicity machine. As well as being a television celebrity, she can dance and sing!

Leading their ‘fake news’ campaigns is Billy Flynn sheister and merchandiser, played by Jason Donovan (Yes, that Jason Donovan!) who depicts Flynn as less the grubby, grasping, grinning and villainous game show host and more as the smarmy, smiling and acquisitive, corporate CEO.

Casey Donovan, with her great stage presence, a bold and versatile voice, wows the audience as Matron Momma Morton, singing When You’re Good To Momma. Momma will do anything for her inmates/girls – for a price.

Cell Block Tango is always a highlight in Chicago and the six women, led by the inimitable Chidzey, make their six chairs blush with their suggestive choreography and the audience cheer at their versions of the various murders they have committed.

Chicago is a hoot, and this is a fun and mischievous version.

by Kate Herbert

Anna REVIEW, until 22 Dec 2019 ***1/2

by Bagryana Popov, presented by La Mama Theatre 
at La Mama Courthouse, until Dec 22, 2019 
Reviewer: Kate Herbert 
Stars: ***1/2

This review also published in print in Herald Sun on Friday 20 Dec 2019 (not online). KH
Bagryana Popov_Anna_ pic by Justin Ko

In her solo performance, Anna, Bagryana Popov depicts the grim and perilous world of Bulgaria during the Stalinist Soviet era when government surveillance and spying on loved ones was the norm.

Anna, the narrator and central character, is married with one child and is a writer of children’s stories. At the beginning of the play, Anna is an old woman who recalls the desperate period from 1949 to the early 1950s when she was manipulated by the Secret Police to act as an informer.

Popov tells the story through Anna’s eyes, but also populates the stage with eccentric characters, including an ugly bureaucrat and his weaselly assistant, Secret Police, a shrill neighbour and Anna’s husband’s mistress, amongst others.

The first half of the piece, deftly directed by John Bolton, is particularly compelling, disturbing and often funny as we laugh at the sheer absurdity of the bureaucracy confronting Anna as she negotiates a Catch 22 situation involving money deposited in a bank account in her name.

Although the second half feels less cohesive – perhaps because there is less narration by older Anna to thread it together – there are some quirky and engaging scenes with Popov portraying Anna’s fantastical fairy tales, her escalating isolation, poverty and, eventually, her paranoia.

Popov is known for her work with the Bulgarian women’s choir, and she incorporates into the narrative several Bulgarian songs that evoke a sense of place and imbue the characters with colour.

In the sparse set design (Lara Week), towering, grey filing cabinets cast long, forbidding shadows, while gloomy lighting (Bronwyn Pringle) accentuates the bleakness of this secretive and dangerous totalitarian world.

In this 21st century, many people still live under despotic regimes, suffering surveillance and forced to keep secrets and speak in whispers to remain safe and free.

Anna is pertinent in our world because the Bulgaria of the 1950s and its Secret Police may be just a change of government away.

by Kate Herbert

Thursday, 19 December 2019

REVIEW of ANNA coming tomorrow!

My REVIEW of ANNA by Bagryana Popov  will be online here tomorrow, Friday 20 Dec 2019!

At La Mama Courthouse till Sun Dec 22.
 Stand by.

From Media Release:
'Written and performed by Bagryana Popov, ANNA is the result of years of research into historical documents, the dossiers of the Bulgarian Secret Police, and interviews, interwoven with the fantastical dark stories of a children’s writer Popov read as a child'

Bagryana Popov_Anna_ pic by Justin Koh 

Tuesday, 3 December 2019

I Shot Mussolini, Nov 28, 2019 ***

By Alice Bishop, by Le Poulet Terrible, presented by La Mama
At La Mama Courthouse, until Dec 8, 2019 
Reviewer: Kate Herbert 
Stars: ***
This review also published in print in Herald Sun on Tues Dec 3, 2019. (not online)
Heather Lythe as Violet / Greg Parker as Pennetta (ensemble at rear) by Renan Goksin
The Honourable Violet Gibson, an Irishwoman, shot Italian dictator, Benito Mussolini, in Rome in 1926, but, despite her best intentions, injured only his nose.

Based on this little-known, true event, I Shot Mussolini, written and directed by Alice Bishop, uses source material including The Irish Baron’s Daughter and Mussolini’s Nose by Richard Collin, and is a fascinating, often funny, sometimes tragic story of the ailing, ageing, and privileged Violet Gibson (Heather Lythe).

This episodic play begins with Violet’s apprehension, then charts her ensuing incarceration, using stylised action, a parade of characters and some witty dialogue.

Violet, a wealthy Irishwoman who converted to Catholicism, manoeuvres a path from botched assassination attempt, through police interviews, psychiatric assessments and even consultations with various saints who she views as her co-conspirators.

Lythe plays the eccentric Violet with an impeccable Irish accent, and is compelling, disturbing and credible as this cunning woman who feigns madness, confesses to political conspiracy, or tilts into genuine delusions and religious mania.

The ensemble, wearing black and white, plays multiple roles as nuns, police, judiciary, journalists and saints. The acting quality varies and some of the Italian accents are patchy, but there are some stand-outs.

Greg Parker is commanding as the dignified, persistent Chief Superintendent Pennetta, Michael F. Cahill is stately as defence counsel, Ferri, Bridgette Burton quirky as Violet’s companion, and Marco Lawrence comical as the gesticulating Radoani.

The sparse, black and white design, evocative projections (Salvador Castro) and dim lighting (Stelios Karagiannis), create a dreamlike quality, accentuating Violet’s foggy, distorted perception of the world.

Despite its unevenness, this production leaves us wondering how the world might have changed had Violet succeeded, and hearing Mussolini’s rambunctious speeches and his rabid supporters chanting, ‘Viva Il Duce’, reminds us that Fascism is only a vote away.

by Kate Herbert 
Heather Lythe as Violet  by Renan Goksinn

Designer Salvador Castro
Lighting Stelios Karagiannis
Sound Nat Grant
Bridgette Burton -Mary McGrath Violet’s companion,  Other roles
Michael F. Cahill - Ferri Defence counsel,  Other roles
Marco Lawrence - Ranaodi,Fiat Salesman,  Other roles
Matthew Moloney – Mussolini and Magistrate,  Other roles
Anthea Davis, Sophie Lampel- Other roles

Monday, 25 November 2019

Kiss of the Spider Woman, Nov 22, 2019 ****

Book by Terrence McNally, Music by John Kander, Lyrics by Fred Ebb, based on novel by Manuel Puig
By Melbourne Theatre Company
At Southbank Theatre, The Sumner, until 28 Dec 2019  
Reviewer: Kate Herbert 
Stars: ****
 Review also published in Herald Sun, Tues 26 Nov 2019 & online Mon 25 Nov. KH
 SPIDER WOMAN-Adam-Jon Fiorentino, Ainsley Melham_ photo Jeff Busby_
Kander and Ebb’s musical, Kiss of the Spider Woman, will make you laugh, sigh, gasp, then laugh again at this story of horror and torture juxtaposed with high-camp, movie fantasy.
Based on Manuel Puig’s 1976 novel, with John Kander’s music, Fred Ebb’s lyrics and book by Terrence McNally, this is a funny, moving, political and fantastical show, directed with wit and sensitivity by Dean Bryant and with playful choreography by Andrew Hallsworth.

Molina (Ainsley Melham) survives the horrors of a bleak, South American prison by conjuring memories of his movie idol, Aurora (Caroline O’Connor).

Played with muscular machismo by Adam-Jon Fiorentino, Valentin, a dissident imprisoned for his Marxist views, initially cannot abide Molina’s escapist fantasies, but, eventually, they become as important to him as to his cellmate.

Melham is a charismatic ‘triple-threat’, with a rich, warm voice, and he is mischievous and camp as the vulnerable Molina who proves himself to be stronger than he, or anyone else, thought.

O’Connor dazzles with her versatility, magnetism and comic timing, drawing a wild ovation after the glitzy, Latin, Broadway-style chorus number, Where You Are, and the audience adores her hilariously histrionic death scene in Russian Movie.
Caroline O’Connor -photo Jeff Busby
Only in the Movies/His Name Was Molina, is a vivacious finale, Over The Wall is a stirring prisoners’ anthem about freedom, while Dear One is a poignant quartet between Melham, Fiorentino, Natalie Gamsu (Molina’s mother) and Elandrah Eramiha (Valentin’s girlfriend).

There are echoes of Kander and Ebb’s more famous musicals, Chicago and Cabaret, in the themes of imprisonment, dissidence, fascism and marginalised people.

While the final intimacy between Molina and Valentin occurs suddenly and, perhaps, unexpectedly, and the comedy sometimes outweighs the pathos, this production is ultimately both entertaining and touching.

by Kate Herbert

Directed by Dean Bryant

Caroline O’Connor 
Ainsley Melham
Adam-Jon Fiorentino 
Jakob Ambrose
Blake Appelqvist
Elandrah Eramiha 
Natalie Gamsu Joe Gaudion Ryan Gonzalez Bert LaBonté  Lyndon Watts