Saturday, 20 January 2024

Seventeen REVIEW MTC 19 Jan 2024 ***1/2

 

THEATRE

 by Matthew Whittet, Melbourne Theatre Company

At  Sumner, Southbank Theatre until 17 Feb 2024

Reviewer: Kate Herbert

Stars:***1/2

This review is published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on a Sat in early Feb 2023. KH

RIchard Piper, Robert Menzies, George Shvetsov, Pamela Rabe,Genevieve Picot, photo Pia Johnson

It is a delicious treat and a privilege to see a cast of such exceptional, older, local actors on stage together and, it must be said, the performances are the major highlight of Seventeen by Matthew Whittet and directed by Matt Edgerton.

 

The team of stellar stalwarts includes Robert Menzies (Tom), Genevieve Picot (Emilia), Richard Piper (Mike), Pamela Rabe (Jess), and George Shevtsov (Ronny), all of whom play 17-year-olds celebrating the end of their school days by getting plastered in a children’s playground. As they imbibe more, their defences crumble, they confront their muddled thoughts about their uncertain futures, and each reveals a closely guarded secret. In a peculiar twist, the wisest words emanate from Mike’s party-crashing, 14-year-old younger sister, Lizzy (Fiona Choi).

 

Their last night together as school pals or colleagues deteriorates into drunken clashes and stumbles, both physical and verbal. Whittet’s play evolves in a series of episodes, some involving the whole group and others focusing more intimately on pairs.

 

As the scenes ebb and flow, so do the relationships and alliances, with friends discovering long-held secrets about each other, losing faith, feeling betrayed or confessing their love.

 

Although they are playing 17-year-olds, some of the dialogue and direction makes them seem like a much younger cohort – but perhaps that is a symptom of school-leavers carrying their child selves with them into the brave new world of adulthood. There is some imbalance between the adolescent banter and bickering, and the individuals’ revelatory monologues about themselves and their view of the world.


Menzies is sympathetic as Tom, capturing his introverted, genuine and caring nature, Picot finds vulnerability in the brittle and awkward Emilia, Piper makes the extroverted, good-looking Mike the focus of the group, Rabe is compelling as the audacious and popular Jess, Shevtsov is poignant and sad as “weirdo”  outsider, Ronny, while Choi vividly portrays the vivacious Lizzy, a younger teen who is yet to feel the others’ sense of the impending doom of adulthood.

 

Watching these older actors playing teens allows us to see into the characters’ futures. As they muse about their hopes, dreams and fears about becoming an adult or growing old, we see, in the image of the actors, the actuality of later middle-age for each of the characters.


Seventeen is both joyful and moving and its significant draw card is the exceptional cast.

 

By Kate Herbert

 

Cast

Fiona Choi, Robert Menzies, Genevieve Picot, Richard Piper, Pamela Rabe and George Shevtsov

 

Director Matt Edgerton
Set & Costume Designer Christina Smith
Lighting Designer Paul Jackson

Composer & Sound Designer Joe Paradise Lui

Movement Director Vincent Crowley
Assistant Director Tasnim Hossain
Intimacy Coordinator Amy Cater

Saturday, 6 January 2024

The Choir of Man REVIEW 5 Jan 2024 ****1/2

MUSICAL THEATRE

Created by Nic Doodson and Andrew Kay

At Playhouse, Arts Centre Melbourne until 11 Feb 2024

Reviewer: Kate Herbert

Stars: ****1/2 (4.5)

This review is published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on Sat in early Feb 2024. KH

NB: I've fixed a couple of misspellings. Apologies to those who I wrongly named. K

Cast-The Choir Of Man_Melbourne-pic Danysha Harriott

The Choir of Man is a rollicking night of singin’, talkin’, dancin’ and drinkin’ in a local pub and it is ideal entertainment for this lazy holiday period before the year starts making its demands on us.

 

Nic Doodson’s vivacious, uplifting and celebratory 90-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 an eclectic repertoire of pop songs, rock anthems, pub and folk tunes.

 

Accompanied by a tight, on-stage band, the performers fill the theatre with thrilling harmonies and a cappella singing, 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-dancing Handyman (Ethan Vijn).

 

The audience is encouraged to participate by singing along to songs such as a raucous rendition of The Proclaimers’ 500 Miles and a rousing You’re the Voice (Tom Brandon) that sends the Farnham-loving Melbourne crowd into vocal paroxysms of delight.

 

Some lucky audience members are invited on stage to drink beer, and on opening night, one saucy minx was a blazing hit, gesturing and flirting shamelessly with the Beast (Rob Godfrey) while he serenaded her with Teenage Dream.

 

There’s the Irish, piano-playing Maestro (Matthew Campbell), the guitar-wielding Godfrey, a perky Barman (Nathaniel Morrison), the Bore who has a velvety, Welsh bass baritone voice (Aled Pennock), the lovelorn Romantic (Bradley Walwyn) and the practical Joker (Christian Tyler-Wood).

 

This joyous show has many highlights, including a soaring and moving rendition of Adele’s anthemic song, Hello, a raunchy version of Queen’s Somebody to Love and an a cappella version of Sia’s Chandelier.

 

The nine men display their musical versatility in an instrumental number, three men sing a goofy trio standing at a urinal, and Higgins delivers the poignant melody, Dance With My Father and their finale is a moving Irish (or is it Scottish?) folk tune, The Parting Glass.

 

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

 

However, do not expect a dramatic arc or a storyline. This piece might have explored more deeply the narrative of the fall of the local pub and the rise of shiny new towers, but it dodges that line and continues merrily as a musical miscellany.

 

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

 

By Kate Herbert

 

CAST
Maestro -Matthew Campbell

Beast - Rob Godfrey

Barman -Nathaniel Morrison

Bore - Aled Pennock

Handyman- Ethan Vijn

Hardman -Tom Brandon

Joker -Christian Tyler-Wood

Poet -Alistair Higgins 5 Jan

Romantic -Bradley Walwyn 5 Jan

 

BAND

Craig Newman- Bass & Band Leader

Angus Burchall -Drums

Marcus Kurban- Guitar

Kyla Matsuura-Miller -Violin

 

Creators -Nic Doodson & Andrew Kay

Musical Supervisor etc Jack Blume

Choreographer- Freddie Huddleston

Monologues Writer- Ben Norris

Scenic Designer- Oli Townsend

Costume -Verity Sadler

Lighting -Richard Dinnen

Sound Design -Sten Severson

 

SONGS & MONOLOGUES LIST

 

1.     WELCOME TO THE JUNGLE

(Intro Scene)

2.     SAVE TONIGHT

3.     TEENAGE DREAM

4.     THE IMPOSSIBLE DREAM

5.     50 WAYS TO LEAVE YOUR LOVER

(“Pubs” Speech)

6.     HELLO

7.     YOU’VE GOT A FRIEND IN ME

8.     PIÑA COLADA

9.     500 MILES

10.  UNDER THE BRIDGE

11.  CHANDELIER

1.     HOMESPEECH

2.     JUNGLESTOMP

3.     BRINGTOMORROWON

4.     DANCEWITHMYFATHER

12.  SOMEBODY TO LOVE

13.  YOU’RE THE VOICE

14.  SOME NIGHTS

a. SOME NIGHTS REPRISE

(Goodbye Speech) 15. THE PARTING GLASS

 

Sunday, 31 December 2023

A Midsummer Night’s Dream COMMENT 29 Dec 2023

 

OUTDOOR THEATRE

Written by William Shakespeare

Australian Shakespeare Company

At  Botanical Gardens, Southern Cross Lawn, until 11 Feb 20224

Reviewer: Kate Herbert

Stars: NA

NB: Apologies to the company but I had to leave the performance early due to unforeseen circumstances. For this reason, the following is an observation rather than a full review of the production. 

I’ll present a radio comment on Arts Weekly on 3MBS When we restart in early Feb 2024. KH

K

Fletcher O'Leary, Hugh Sexton, Cameron Shook and Syd Brisbane_Credit Ben Fon

Glenn Elston’s 35th production of A Midsummer Night’s Dream under the stars is playful, youthful and irreverent, cheekily incorporating contemporary language, attitudes and references to update Shakespeare’s text and appeal to audiences unfamiliar with the Bard.

 

The Mechanicals are like a clutch of tittering, testosterone-soaked teenage boys who would hear sexual innuendo in a teacup. Syd Brisbane’s Puck has a devilish attitude and a primate-like gait and he compels his two acrobatic fairies (Fletcher O’Leary, Cierra Shook) to do his and Oberon’s bidding.

 

There are some notable performances, including the impressive Larissa Teale as Helena; Teale adroitly penetrates the poetic text, creating a credible and comprehensible Helena and giving the audience access to Shakespeare. Hugh Sexton is, as always, a treat to watch; he is dignified as Theseus and compelling as Oberon, the Fairy King.

 

As ever, the exquisite Botanical Gardens and its resident wildlife provide an evocative environmental backdrop to the simple staging.

 

Get out there with our picnic and see this celebratory and entertaining summer delight.

 

by Kate Herbert

 

CAST

TITANIA | HIPPOLYTA Nicole Nabout

OBERON | THESEUS Hugh Sexton

PUCK | PHILOSTRATE Syd Brisbane

HELENA | COBWEB Larissa Teale

HERMIA | FAIRY Olivia McLeod

DEMETRIUS | ROBIN STARVELING Tane Williams

LYSANDER | TOM SNOUT Alex Cooper

BOTTOM Elizabeth Brennan
PETER QUINCE | MUSTARDSEED Madeleine Somers

FRANCIS FLUTE Jackson McGovern

SNUG | FAIRY Henny Walters

PEASEBLOSSOM Fletcher O’Leary

MOTH Claire Duncan

PUCK’S ASSISTANT Cierra Shook

Saturday, 9 December 2023

KateHerbert ArtsWeekly 3MBS Sat9DEC2023

In this last Arts Weekly 3MBS radio spot for 2023, I review Who’s Afraid of Virginia Woolf at Red Stitch and Lady Day at the Emerson Bar and Grill by MTC with Zahra Newman as Billie Holiday.

 

Tuesday, 28 November 2023

Lady Day at Emerson’s Bar and Grill REVIEW 28 Nov 2023

THEATRE / MUSICAL

Written by Lanie Robertson

At Fairfax Studio, Arts Centre Melbourne extended until 9 Dec 2023

Reviewer: Kate Herbert

Stars: ***** (5)

This review is published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on Sat 9 Dec 2023. Apologies that I'll review it on air after close of season. KH

Zahra Newman -Lady Day_pic by Matt_Byrne
Zahra Newman totally inhabits the heart, body and spirit of Billie Holiday, known as Lady Day, in her inspired and poignant performance of Lady Day at Emerson’s Bar and Grill.

 

Accompanied by a tight, gifted and very cool jazz trio (Kym Purling on piano, Dan Witton on upright bass, Edward York on drums), Newman, wearing a gleaming, white satin gown, addresses us as if we were a devoted audience at Emerson’s in Philadelphia, a bar that she knows so well from her chequered past. Lady is supported – in all meanings of the word – on stage by Jimmy, her pianist, show-host and sublimely patient, current beau, who encourages and prompts her whenever the need arises – which is often by the end of the evening.

 

Newman is a gifted jazz singer in her own right, but she also captures impeccably the bluesy-jazz stylings of Holiday’s singing, and the drawling, slightly slurred tones of her speech as she becomes progressively more intoxicated, to the point where she can barely stand. The voice and dialect coaching by Geraldine Cook-Dafner must be commended.

 

Zahra Newman -Lady Day_pic by Matt_Byrne

The live music, and Newman’s vocal renditions of Holiday’s exceptional repertoire of songs, are thrilling and musical arrangements by Danny Holgate are captivating.

 

But it is profoundly painful to witness this great talent, Holiday, disintegrating before our eyes, as she re-tells and re-lives dramatic, tragic and painful episodes from her past, including her appalling choice of partner, her heroin addiction, and the imprisonment that ended her career.

 

The song list includes some full tunes and many snatches of Holiday’s popular melodies, including her most famous and most requested songs, God Bless the Child, and Strange Fruit.

 

Mitchell Butel’s direction is discreet and unobtrusive, focusing the eye and the ear on Newman and allowing the audience to experience the immediacy of Newman’s performance as Holiday’s story unfolds and her character unravels.

 

Lanie Robertson’s script draws on Holiday’s lived experiences, illuminating the woman and her life and trials, but never slipping into exposition.

 

This is an exceptional night at the theatre and Newman’s charismatic performance must be seen. Forget the Chrissie shopping! Rush out now!

 

by Kate Herbert

 

CAST

Billie Holiday Zahra Newman
Alternate Billie Holiday Elenoa Rokobaro
Jimmy Powers Kym Purling

 

BAND

Upright Bass Dan Witton
Drums Edward York

 

CREATIVE TEAM

Director Mitchell Butel
Associate Director Zahra Newman
Musical Arrangements Danny Holgate

Musical Director & Additional Arrangements Kym Purling
Set & Costume Designer Ailsa Paterson
Lighting Designer Govin Ruben
Sound Designer Andrew Howard
Voice & Dialogue Coach Geraldine Cook-Dafner
Voice & Dialogue Coach Jennifer Innes

Stage Manager Bridget Samuel
Assistant Stage Manager Sean Proude
Animal Trainers Paws on Film

 

 

Saturday, 25 November 2023

KateHerbert ArtsWeekly-RADIO REVIEWS-SAT25NOV 2023

In this show, I review A Very Jewish Christmas Carol at MTC and A Christmas Carol by Old Vic with Owen Teale at Comedy Theatre, Melbourne. Two very different adaptations of Dicken's for theatre.

 The Old Vic one is much more successful than the other. k

Friday, 24 November 2023

A Christmas Carol REVIEW 23 Nov 2023 *****

THEATRE

A version by Jack Thorne, conceived by Matthew Warchus from Charles Dickens novel

An Old Vic production

At Comedy Theatre Melbourne until 7 Jan 2023

Reviewer: Kate Herbert

Stars: ***** (5)

This review is published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on Sat 25 Nov 2023. KH

NB: I “re-purposed” some content from my 2022 review of this production, where it was still relevant. K

A CHRISTMAS CAROL 2023_c Jeff Busby   
Matthew Warchus’s exhilarating production of A Christmas Carol, adapted by Jack Thorne from Dickens’ ripping yarn, is a very Christmassy feast of carols, choral harmonies, mass bell ringing, snow, faith, hope and charity and even a veritable feast of fruits, vegetables, meat platters, puddings and breads all sliding down from the balcony along draped sheets to the stage and into wicker baskets. Yes, real food – mostly.

 

The pre-show musical entertainment includes actors dispensing mince pies and mandarins to audience members who wave furiously at actors to get their hands on the Chrissy nosh.

 

Thorne’s version of Dickens’ story extracts crucial moments, takes licence with some dialogue, and omits some characters and scenes because, let’s face it, Dickens’ book would take many hours to perform in full.

 

The centre of this morality tale is Ebenezer Scrooge, played by virtuoso UK actor, Owen Teale, who manages to take Scrooge from ferocious to vulnerable by the end of the show. Scrooge is a miserly old moneylender who thinks Christmas is ‘humbug’ (He says the word only once in this show.) and who underpays and makes unreasonable demands on his dutiful, hard-working office clerk, Bob Cratchit (Bernard Curry) who lives in poverty with his wife and many children including Tiny Tim (played adorably by Mira Feldman on opening night). Scrooge reviles the carol singers at his door and dismisses his genial nephew, Fred (Andrew Coshan). He suspects everyone wants to steal his money.

 

Teale’s performance is rich, nuanced and passionate but feels effortless and natural, as if he isn’t acting at all, while his warm, honey-toned voice soothes and charms, even when Scrooge is being mightily mean. Teale’s transformation from this stone-hearted old grump into joyful, bouncing, childlike benefactor is swift but credible, and his 180-degree change triggers the truly joyous Christmas celebration and feast that follows at the Cratchit’s home.

 

The supporting cast is outstanding with Debra Lawrance as the wry, pert, elderly Christmas Past, and Samantha Morley as the critical, chivvying Christmas Present. The entire cast takes the role of Christmas Future – a group of black-clad veiled ghostly figures – while Scrooge’s late sister, Little Fann (Aisha Aidara) takes Scrooge to view his own, desperately lonely funeral at which he learns his lesson of love and kinship.

 

Anthony Harkin is compelling as Jacob Marley and his warm, velvety baritone is welcome in the final song, Grant Piro’s Fezziwig is playful and naïve, while Sarah Morrison is warm and composed as Belle, Scrooge’s past love.

 

We marvel like children at Rob Howell’s gloriously atmospheric set design of tumbled lanterns and drop lights, falling snow, Scrooge’s money boxes and secret compartments in the stage floor, and Hugh Vanstone‘a evocative, often spooky, sometimes festive lighting. The music, composed by Christopher Nightingale, is an imaginative collision of Christmas carols, a capella harmonies, inspired bell ringing and haunting soundscape, played by a live band perched in a balcony box and musicians who are on stage.

 

A Christmas Carol, with its dancing, singing, snacks, tears and laughter, is a delicious Christmas tonic that reminds us of those who struggle to make ends meet. In London and here, money is collected and donated by the show to charities for the poor. Teale speaks with warmth about donations to FairShare and there are collection boxes at the doors.

 

by Kate Herbert

Owen Teale & cast CHRISTMAS CAROL 2023_c Jeff Busby
CAST

Ebenezer Scrooge - Owen Teale

Cameron Bajraktarevic-Hayward -Young Ebenezer (also cello/double bass)

Bernard Curry - Bob Cratchit

Anthony Harkin - Father / Marley

Andrew Coshan - Fred

Stephanie Lambourn - Mrs Cratchit  (Mandolin)

Debra Lawrance - Ghost of Christmas Past

Samantha Morley -  Ghost of Christmas Present

Aisha Aidara - Little Fan

 Sarah Morrison - Belle

 Grant Piro -  Fezzwig

Kaya Byrne - Nicholas

Benjamin Colley -George (Accordion/tin whistle)

Deirdre Khoo – Jess

Tiny Tim -  On opening night Tiny Tim played by Mira Friedman; Alexis Abela, Sasha Hampson, Evie Rose Hennessy, Libby Segal 

 

 

CREATIVE TEAM

Jack Thorne -   Adaptation

Matthew Warchus - Director

Rob Howell - Set & Costume

Christopher Nightingale - Composer & Arranger

Peter Rutherford - Australian Musical Director

Hugh Vanstone  -Lighting

Simon Baker - Sound

Lizzi Gee – Movement

Simon Baker – Sound

Campbell Young Assoc- Hair, wigs, make-up

 

BAND
Natasha Fearnside – Reed

Lisa Reynolds – Violin

Kalina Krusteva – Cello