theatre anywhere!

Between 10 – 19 May you’ll find new plays in alleys, puppets in bars, cabaret in warehouses, comedy in your home and office and performances you can be a part of online from Texas to London, Hamilton to Toowoomba.

Anywhere Theatre Festival is the brainchild of husband and wife power couple Paul Osuch and Alexandra McTavish. They’re pretty humble about conceptualising, developing and continuing to run the whole thing so when you see them around – anywhere but in a theatre for the ten days between the 10th and the 19th of May – please congratulate them and give them big hugs and a whole heap of love!

N.B. Some shows are already SOLD OUT!

What will you be seeing anywhere but in a theatre???

In the tradition of murder-balladeer Nick Cave, the femme fatales of Babushka invite you into their bloody nightmare to indulge in dark tales of murderous passion, sinister sirens and the infinite beauty of death in the debut season of Where the Wild Roses Grow.
Late night Cabaret at its finest.
DATES: Thu 10th & Sat 12th @ 9:30pm
PLACE: 275 Macarthur Avenue, Hamilton Reach

A family of Gremlins has taken residence in Brisbane. Roxoff, Mofball & Botolf Gromlot are trying to launch their new budget airline and fulfill their dream of flying. Tickets sales are going well, and their maiden voyage is due to take off shortly. There is only one problem….they haven’t built the plane yet.
DATES: Thu 10th to Sat 12th @ 7:00pm & Thu 17th to Sat 19th @ 7:00pm
PLACE: Reverse Garbage, 20 Burke St, Woolloongabba

As a collective the cast and the directors have come up with a collage of 5 scenes exploring life on the brink; public transport, romance, hospital drama and misadventure. 3 Windows will be an excellent opportunity to see Cinematic Theatre for and by Young People at it’s most vivid and vibrant… don’t miss it.
DATES: Fri 11th & Sat 12th @ 7:30pm
PLACE: 37 Manilla St, East Brisbane

Set in the heart of Fortitude Valley, four playwrights turn a dirty alleyway into the legends of nights out – where drunken youth roam free and the pavement becomes a stained and silent tapestry of history.
DATES: Mon 14th & Tues 15th @ 7:00pm ONLY
PLACE: Winn Lane, Fortitude Valley, 4005

 

10 Really Fast Festival Facts

 

1. Brisbane does it first
The 2012 Anywhere Theatre Festival is the only fringe festival in the world for performance anywhere but a theatre.

2. Already the biggest performance festival in Brisbane
The 2012 Anywhere Theatre Festival has over 50 productions and 200 performances already confirmed meaning it has more productions and performances than Brisbane Festival.

3. Attracting interstate and international
The 2012 Anywhere Theatre Festival features 6 companies from the U.K., Two from the U.S., one from New Zealand, Tunisia and France.

4. Brisbane proves it has a depth of untapped talent
Recognised companies such as Queensland Theatre Company and Circa Presents mix with independent and up and coming companies.

5. A theatre festival with performances on Twitter
A mix of international and local performances from streamed international performances to interactive augmented realities.

6. A Brisbane festival from the Sunshine Coast to Perth
Performance locations range from the Sunshine Coast down to the Gold Coast and across to Perth.

7. A two person volunteer team producing the biggest festival in Brisbane 
The festival is organised by a core husband and wife team over evenings and weekends with financial contribution from Arts Queensland.

8. Theatre Anywhere – even in your house
This year theatre anywhere will be taken to the extreme with performances you can book to come to your home or office! Other performances happening in elevators, parks, city cats (tbc).

9. A Brisbane idea to the world
The purpose is to bring fringe festival to everyone, especially to places with a lack of theatres. We are already discussing how the festival can move to regional centres and other states.

10. International institutions want to know how we do it!
Since the 2011 festival we have been asked to advise on how to do theatre anywhere and have an invitation from the Milan Commissioner of Culture to talk as they prepare for their 2015 Universal Expo.

That Scottish Play: deliciously wicked!

ARE YOU READY FOR THIS?

My husband Sam, who you know is the President of the Sunshine Coast Theatre Alliance,

is at Lind Lane Theatre tonight, rehearsing for what I’m predicting will be

the most controversial Sunshine Coast production of the year!

Why? Because it’s a parody of all things community theatre…and it’s all true! Well, okay; to be safe, let’s just say it’s ”inspired by true events”.

Sam says of the show, “In true Denver style, this is chaos on speed!”

Locals will recognise many familiar faces not only on stage but within the references and in-house jokes, which Simon Denver has ingeniously (or is that just deliciously wickedly?) mashed together in order to present the play we had to have. Or is it a musical? Let’s use Midsummer’s line and call it “a play with songs”.

With Darren Heskes (MD) on board, we can certainly expect to hear some clever little musical references.

If you’ve ever been involved in community theatre anywhere, you will love this show.

(Actually, there’s a slim chance you’ll loathe it but that’s only if you’re unable to have a laugh at yourself!)

By the way, you might have noticed that on certain publicity materials my name appears, however; I was unable to commit to early rehearsals due to my involvement in Travelling North. Wait. Were there early rehearsals?!

I can’t wait to see what this show becomes by Friday night! I’m sure it will be full of surprises!

A deliciously wicked farce parodying community theatre. 

A local group crash tackles Macbeth, sorta by William Shakespeare - but with all the Macbeth bits taken out! 

A co-production presented by Lind Lane Theatre & SRT Productions

written & directed by Simon Denver.

“That Scottish Play” could almost be retitled – “ROAST THE COAST”  

Opening night: Friday April 27th

Season continues: April 28th, May 2nd, 4th & 5th at 8pm

 

Matinees: April 29 & May 5 at 2pm

Adults $22. Concessions apply

Once word gets out this show will sell out so be quick to book!

 

The cast of 25 plus, includes members of 12 different theatre groups.  

 

Or to put it another way, 15 current and past committee members of 

aforementioned groups and 6 past or present presidents!  

 

Pound for pound this is a very frightening cast!  All from the deeper end of the talent pool.  

The cast includes:

Brett Klease, Joy Marshall,

Sam Coward, Errol Morrison, 

Anna MacMahon, Jane Rivers, Jenni McCaul,

Howard Tampling, Darren Heskes, Angel Goulter

and a host of others.

 

Bookings: 5441 1814 or online at

 

www.lindlane.com.au

ANNIE

Annie

Gordon Frost Organisation

QPAC Lyric Theatre

14th April – 13th May

Reviewed by Michelle Bull

Sugar and Spice and all things nice. That’s what little girls are made of, right?

From the excited young voices being shushed by their mothers to the bobbing heads as far back as the eye can see, it seems most definitely so. That’s right folks, ‘Annie’ is back and “Aw Gee-ing” her way across the Lyric Theatre stage and right back into our plucky little hearts.

At the premiere of  the musical’s Brisbane season, the curtain rises to a scene reminiscent of the grit and grandeur so candidly etched into our memories from the 1982 hit movie. The set design (Kenneth Foy), captures expertly the squalor of the Municipal Girls Orphanage, which is later contrasted starkly with the opulence of Warbuck’s mansion. The visuals of this show are crafted beautifully, and set up the audience for a visual treat.

Directed by Karen Johnson Mortimer, the production relishes in recapturing the essence of a time gone by. All our old favourites are there, and are delivered just the way we remember them. And while even I was quite happily toe-tapping my way through the familiar numbers, a nagging little voice inside kept whispering that while fun, familiar and comfortable, there was a sense that theatrically, something was amiss.

Having grown up watching the 1982 film adaptation of Annie with blatant devotion, admittedly I have strong images and expectations wedged firmly in my heart as to what I should feel seeing these characters live before me onstage, expecting the subtleties of each scene and each character to once again charm their way into my heart and knock me flat. Obviously this is an ambitious expectation given the limitations of a proscenium stage show. However, despite some outstanding contributions from the cast, I do feel this seasons Annie fails to consistently reach beyond the great musical score and script and expose the humanity of the story in a way that excites me as much as my childhood memories of the show do. But it does have its redeeming moments, particularly in the talents of its cast.

Sharing the title role of little Orphan Annie are newcomers Xanthe Dunning, Anita Munro and Chloe Thiel, with Thiel playing the role of Annie at the Brisbane premiere on Thursday night. With a strong, commanding voice that has a natural freedom and youthful charm, Theil’s portrayal of the spirited young Annie is measured, professional and mature in its approach. I would have liked to see a little more emotional connection to the text come through in her performance, as giving us a sneak peek at the vulnerabilities and emotional growth of Annie’s character could have made a very good performance into a great one. It will be exciting to watch the progress of this talented young performer as she grows throughout this production.

A strong cast of misfit orphans support Thiel. Although at times their varying levels of stage experience shows, their combined musicality and enthusiasm for their individual roles was infectious. It’s the Hard Knock Life was a highlight of the show, and allowed each girl a moment to shine. Worth special mention was youngest orphan, Molly (Kennedy Foley), who stole the hearts of the audience with her comic delivery and infectious stage presence.

Quietly commanding is the talent of Anthony Warlow in the role of Oliver Warbucks. Bringing a sense of warmth and vulnerability to the role of the authoritative Warbucks, Warlow’s voice and artistry shines in the role, and gives the air of a generous performer.

Julie Goodwin plays opposite Warlow, as an entrancing and practically perfect Grace. She too brings warmth and quiet elegance to her role, embodying the youthfulness of the efficient, kind hearted Grace through an intuitive and experienced approach. Goodwin’s vocal delivery is a major strength of her performance, embodying a beautiful sense of musicality and composure that is highly compatible with her character.

Likewise, Nancy Hayes in the role of Miss Hannigan gives an outstanding and dedicated performance. Courageously, she does not mimic the noted archetype known to many from the 1982 film, but rather, gives Hannigan a disordered drunken charm that audiences love-to-hate. Theatrically she is a joy to watch, however I felt more could have been made of her solo moment Little Girls, which seemed to only skim the surface of Hayes innate comic timing and theatricality.

Todd McKenney as the swindling Rooster and Chloe Dallimore as his leggy limpet ‘Lily St Regis’, make an impressive entrance in Easy Street. They have a sizzling presence onstage that commands your attention, albeit sometimes to the detriment of the other performers in the centre of the action, however, I enjoyed their energy and found them an engaging duo.

Alan Jones in the role of F.D.R is an interesting choice. Vocally he holds his own but although enthusiastic and well directed, areas of the characterisation are in need of refinement. The slipping in and out of accent was noticeably an issue and distracted from what was effectively a well-mannered performance.

The ensemble of Annie was a highlight of this production. With a collective energy that kept the energy of each scene flowing seamlessly, they are to be commended for their contribution to this show. Each is clearly an accomplished performer in their own right and together form a strong ensemble that is musically and theatrically dynamic. Likewise the musical direction of the show (Peter Casey) was a true asset, and gave justice to this well loved score. My congratulations to the instrumentalists who created a sensitive and spirited accompaniment to this show.

I have to say that while I found the direction of this production a little stagnant, it is not without it’s musical and theatrical charms. The show closed to rapturous applause and it is clear that Annie’s optimistic and feel-good message is one that resonates with audiences young and old. Sometimes it’s just nice to go and see a nice musical; after all is said and sung, I found it quite a nice end to a ‘Hard Knock’ week.

oscar theatre co last minute audition spots

A quick note from Oscar Theatre Co

Yeah. You know them. They brought us [title of show]. They brought us Spring Awakening.

How could you NOT want to secure one of the last audition spots that have suddenly become available and be a part of whatever they do next?!

Due to some last minute changes, there are some spots still left at the Oscar Auditions this Sunday

(April 15th)

Check out details at www.oscartheatre.com and share this with anyone you think may be interested!

Can’t wait – if you’ve submitted you should all have heard times and details by now. If yours has gone missing in cyberspace, email admin@oscartheatre.com

Peace out bitches. Bring it.

Oscar.

tomorrow

Annie the Musical will officially roll out the red carpet and pull back the curtain when it opens in the Lyric Theatre, Queensland Performing Arts Centre (QPAC) tomorrow, on Thursday 12 April to a full house. Michelle Bull will be there. Keep an eye out for her review.

This exciting production stars Anthony Warlow, Nancye Hayes, Todd McKenney, Chloe Dallimore, Julie Goodwin and Alan Jones as President Roosevelt along with 24 local children, including Cassidy Bonnor, pictured below.

Cassidy Bonnor (Molly). Image by Paul Guy.

There will be three cast members alternating in the roles of Annie, with the coveted role being shared by Xanthe Dunning, Anita Munro and Chloe Thiel.

Based on the popular Harold Gray comic strip, “Little Orphan Annie”, the musical Annie burst into popularity in 1977, when it opened on Broadway. After running there for nearly six years, it has played in over 22 countries worldwide including the UK, Argentina, Japan, Germany, Sweden, Spain and Australia. Annie became a smash-hit movie musical in 1982 starring Aileen Quinn, Albert Finney and Carol Burnett. The movie is adored worldwide and a fixture of popular culture references.

 

Annie is full of toe-tapping hits such as It’s the Hard Knock Life, Easy Street, You’re Never Fully Dressed Without A Smile, NYC, Maybe and of course, Tomorrow.

These wonderful songs have become staples of musical theatre repertoires worldwide and now, 34 years on, it remains one of the most loved and universally appealing musicals of all time. Running at QPAC for 5 weeks only, don’t miss out on this wonderful ‘grown up’ musical for audiences of all ages.

To book tickets to Annie at QPAC’s Lyric Theatre go to www.qpac.com.au or phone 136 246

 

 

Cassidy Bonnor. Source: Quest

 

david hawkins brings ben vereen

OMIGOD! The most exciting news all day!

David Hawkins, of Showtune Productions, is bringing the legendary Tony Award winning song and dance man

BEN VEREEN

to Australia in June! *screams*

Now, it’s unlikely that I’ll get to travel south to see him live, due to all the Travelling North I’m doing at the moment, followed by our commitment to the Noosa Longweekend (full program released on May 1st), but in case you’re able to go, here are the delicious details.

BEN VEREEN in

STEPPIN’ OUT LIVE WITH BEN VEREEN

22 JUNE 2012
FESTIVAL THEATRE,
ADELAIDE CABARET FESTIVAL

23 JUNE 2012
ATHENAEUM THEATRE, MELBOURNE or PH 13 2849

28 JUNE 2012
PARADE THEATRE – NIDA, SYDNEY or PH 13 2849

A true legend of Broadway, Ben Vereen will be Steppin’ Out with a unique blend of artistry combining a journey of his amazing career on Broadway, and paying tribute to Frank Sinatra, and Sammy Davis Jr. Each performance is filled with song and dance, stories of his life, and a great deal of humour.

Tony Award winner for his role in Pippin, Vereen has appeared on Broadway in Wicked, Fosse, Chicago, Jesus Christ Superstar, Hair, Grind, Jelly’s Last Jam, A Christmas Carol and I’m Not Rappaport. Vereen’s film credits include Bob Fosse’s classics Sweet Charity and All That Jazz and Barbara Streisand’s Funny Lady. Vereen starred as ‘Chicken George’ in the 7 Emmy Award winning mini-series Rootsas ‘Chiken George’, other TV appearances include How I Met Your Mother, Grey’s Anatomy, Law and Order: CI, OZ, Touched By An Angel, Second Noah, New York Undercover, The Nanny, and Star Trek – The Next Generation.

Well, when I read the news on Facebook today during our tech run, I exclaimed out loud something a little more Legally Blonde than Travelling North like, “OMIGOD! YOU GUYS! BEN VEREEN!” And Julia, who plays Frank’s daughter, Joan (Andrea Moor played the role in the film), was just as excited as I was and that was so excited that we started singing PIPPIN. And by singing PIPPIN I mean dancing around the new dressing room, singing the opening number at the top of our voices. Andree, who makes her stage debut as Helen, just stared. Clearly, we should have been running lines. But look, you can never have too much PIPPIN. It stays with you. I was Fastrada when I was fifteen…

Fastrada costume (sans character shoes) by Mum. Taken on location at the Stringybark Road residence.

And our Pippin? Well, he’s also gone onto bigger and better things!

Look for him on stage at  the Olivier Awards, performing with the UK touring company of South Pacific!

Our Pippin, Lawrence Carmichael, with Director, Ian Austin in 1990

Hello, Sailor! South Pacific 2012

Meanwhile, you’ve booked your Ben Vereen tickets, haven’t you?

If you’re not booking them right away you’ll miss out!

And if you manage to get hold of a couple of extra tickets for Sydney on the 28th (we’re at the Noosa Longweekend until then) let me know! Seeing Ben Vereen as the Leading Player in PIPPIN (on VHS) changed my life a little bit . Imagine what it will be like to see this legend perform LIVE! This is what the independent producers do – well, this is what we’ve noticed David Hawkins does – he brings out the entertainers who will change your life.

 

 

sweeney todd

Josh Rowe (Sweeney Todd)

Sweeney Todd

Ignatians Musical Society

Schonell Theatre

22^nd March – 13^th April

Ignatians sure know how to put on a show. And boy oh boy have they picked a doozy this time! Hugh Wheeler and Stephen Sondheim’s Sweeney Todd, The Demon Barber of Fleet Street, inspired by Christopher Bond’s 1973 play of the classic story (Bond was the first to show Todd as a man who had been wronged by the law and not motivated entirely by greed), is certainly not the easiest of musical productions. In fact, it could be considered one of the most challenging, with its complex orchestrations, multi-layered ensemble work and dark, difficult story to sell to contemporary audiences with ever-decreasing attention spans, accustomed to being sitcom-spoon-fed.

Director and Musical Director, John Peek, has accomplished something special with this Sweeney Todd. A strong, bold ensemble, filled to overflowing with top-notch part-singers and character actors, a brave creative team, an orchestra fit for a recording studio (led by Conductor, Edgar Chan) and a cast of leading players who include a couple of Brisbane’s best.

Opera singer, Josh Rowe, despite his Russell Crow demeanor (or maybe because of it. Russell Crowe was to have originally starred in the film and was to have been directed by Sam Mendes. Personally, I’m okay with Johnny Depp and Tim Burton having scored the gig), was a little underwhelming on Saturday night (the third performance of the run). Rowe may have the title role but this is Miranda Selwood’s show. Their relationship becomes more interesting and Rowe’s reactions and expressions become more animated in Act 2, by which time I felt he’d really settled into his boots (I don’t mean vocally – the outstanding vocals were there from the outset, exemplified in the sinister song, My Friends, sung to his razor (singular, yes), glinting in the light – I mean that he must have gone out and got his Sweeney shoes on at interval, only fully exploring the range of the character later. I should make mention of Pretty Women; sung with Judge Turpin (Chris Kellett), it used the right mix from both men, of devious and delighted and By The Sea, performed with Selwood (she is an absolute scream in this number; hers is a fearless performance) is made that much more hilarious by Rowe’s facial expressions and in this well-loved song, although he remains seated, we see his ability as an actor start to come through, in addition to the stand-and-deliver-singer we’ve seen thus far). It’s Selwood who is simply superb, as the bustling, busybody, bonny cook of The Worst Pies in London, Mrs Lovett. She is feisty, cheeky, fast, furious and vocally, absolutely glorious. She clearly relishes the role and why not? It’s a plum one and it seems she was born to play it. I’m sure Selwood must have taken a leaf out of Helena Bonham Carter’s book and practiced her baking whilst practicing her singing, in order to perfect the syncopation in her songs, which are surely the most difficult of the show.

James Gauci is also perfectly cast, as the young, romantic lead. He’s a good-looking lad who can hold a note and tell a tale…oh, who am I kidding? He’s just gorgeous and he sings to sweep the ladies off their feet! Please somebody get him in front of Frosty already! His Johanna, Jordana Peek, is suitably lovely – a picture of innocence – though I found her a little pitchy and breathy in the song that should seal the deal for this character, Green Finch and Linnet Bird. She made up for it in the duet with Gauci, Kiss Me, and also, in the Reprise of Kiss Me (the Quartet), demonstrating the confidence we expected to see from the start and a much more polished performance, finally winning me over. Toby (Ben Hickey) is a tough-nut sweetheart and does a truly beautiful job of the often over-sung Not While I’m Around. We expect this to be a poignant moment (it’s the beauty before the full extent of the horror) between Toby and Mrs Lovett and we’re not disappointed. Pirelli (Andrew Scheiwe), whose accents are spot on and Lucy Barker (Sarah Jensen), who manages to make us laugh as well as make our hearts break in the very same instant, get the other honorable mentions, giving us wonderful, multi-faceted characters.

James Gauci (Anthony) and Ben Hickey (Toby)

James Gauci (Anthony), Jordana Peek (Johanna) and Chris Kellet (Judge Turpin)

It’s a highly technical show and there are massive demands placed on the set. This design (Shane Rodwell) is intricate in terms of its levels but there is something at odds here and I feel sure it’s the massive, mechanical revolve trying to upstage everybody. So much emphasis has been placed on the working set that we are lucky to have had such strong performances, avoiding anyone paling into insignificance. I love a revolve as much as anybody but it must serve the purpose and I felt that this one – it was clunky and slow – was out of step with the pace of the show. The Chair, however, is another matter altogether; the mechanism is brilliant and the effect is truly chilling and strangely comical, as things tend to be when they are mildly discomforting… I don’t want to give away all of the effects but if you’ve ever seen a squib sliced, you’ll appreciate that somebody in makeup has done their fair share of research into the fine art of throat slitting. You will squirm, just as you should. The tale is, after all, ghastly.

Dark, gothic lighting – not too much and not too little – casting shadows and drawing our eyes towards the most minimal action is just right. Andrew ‘Panda’ Haden has done well to achieve such an evocative and intimate lighting design within the large-scale Schonell Theatre. Gutter colours dominate the structures and the costumes, all trash and no treasure, except for Pirelli’s carnival suit (but he’s not around for long), Johanna’s pretty blue frock and Mrs Lovettt’s sassy petticoat of delicious pink under, which we catch glimpses of, just as we see the brighter shades of each character from time to time – but only for a moment.

The staging of the prologue seems unnecessary, an anti-climatic opening; a solitary figure (a dishevelled man) crossing the apron of the stage to pull a rope, in the action of ringing a bell and at the same time, opening the curtain onto a scene of madness – the streets of London. A bold directorial choice, it was probably not ideal. Far more effective would be the first sounds of Sondheim’s strangely seductive score and the curtain opening upon the ensemble standing, imploring us (really very At the End of the Day and there’s no doubt it works), to “Attend the tale of Sweeney Todd”…

Another unusual moment, wasted; we missed, “At last, my right arm is complete again!” It’s the definitive Demon Barber character line and it was thrown to the wings, dismissed during an exit, rather than used to achieve the climax of the Prologue. Whether by actor or director, I thought this an odd choice.

"At last, my right arm is complete again!" Johnny Depp in Tim Burton's film.

I cannot stress enough how good this company is in terms of their ensemble singing. Like any company, they have their “stars”, though none seem aligned or affiliated with this or another company, we see them everywhere, and Ignatians always work really hard on producing an exceptional ensemble, as we saw (heard) in RENT and as we see (and hear) in Sweeney Todd. I’m always in awe of a good choir master/MD (our local Oriana Choir is off on their European tour soon, led by the extremely capable and super confident Daniel Calder) and if you’ve ever considered joining a terrific no-pressure-no-audition choir, Ignatians provides another Brisbane option. Check the website for details.

As far as Brisbane theatre goes, there is a huge amount on at the moment and this production must be one of the hot ticket items. On Saturday night, I noticed UQ uni life was alive and well (clearly, it was pizza and red wine night) and a horde of younger audience members filled the Schonell theatre foyer at least 20 minutes before the Box Office opened. These are some keen kids! How wonderful that the theatre rather than the cinema is where they choose to spend some of their money! I would not recommend taking children to see this show. I would wonder at its appeal for those to whom Sondheim’s score is largely unknown and at the same time, I would encourage all and sundry to go see Peek’s Sweeney Todd and support Ignatians’ mammoth effort and their solid commitment to the growth of the Brisbane musical theatre scene. Really, you’d be silly to miss this production – there’s too much to like about it!

You’re a Good Man, Charlie Brown

You’re A Good Man, Charlie Brown

Harvest Rain Theatre

21^st – 31^st March 2012

Reviewed by Meredith McLean

Before the lights went down and the rain began to patter on the warehouse’s roof I realised the actors I was about to see had a challenge ahead of them. You’re A Good Man, Charlie Brown is not a new and upcoming production. Neither is it a recent hit that has come to tour Brisbane. This is a musical comedy that was first performed in 1967, redone and adapted many times over by many theatre companies, high schools and performers alike. The challenge for this young but nonetheless inspiring cast was to make this performance their own. After seeing the show I believe they did just that.

It was very easy for them to win me over. The characters of Charlie Brown have always been a part of my childhood. I used to watch the television series religiously every Saturday morning so I was happy to be reunited with a childhood favourite in the Harvest Rain Theatre.

I have to stress if you haven’t seen the musical in any of its previous productions do not expect a linear plot. Don’t even try it. Despite Charlie Brown being the title character the ensemble cast of Lucy, Linus, Sally, Schroeder, and of course Snoopy each have their turn to befriend and humour you. The musical is a series of skits, all of which will no doubt make you laugh and want to sing along.

I was disappointed by one recurring mistake. A very simple error but once I heard it, it couldn’t be ignored. A few of the cast members at one time or another, and sometimes more than once, stuttered or muddled a line. That one break in the flow of what feels almost real let me down. Certainly because this is a musical their voice is everything in this production. The songs are important naturally but their vocals shouldn’t compensate for the dialogue.

Each and every one of the cast members has a wonderful voice. It’s something I truly envy. Tom Oliver stepped up to the challenge of the title character. If Charlie Brown were a real person he’d be something like Oliver’s performance. Tom is no stranger to musical theatre. He has made the rounds in well-known musicals such as A Very Potter Musical as well as classics like Jesus Christ Superstar.

But like I said, Charlie Brown is not the focus of this musical. Two names I thought absolutely need to be commended for this production is Matt Johnston and Alex Valentine who played Snoopy and Sally respectively. Alex’s voice and Matt’s charisma won me over instantly. This duo share some wonderful scenes as well as their own that remain unforgettable. When they’re not busy chasing rabbits their songs fill the room.

Alex Valentine has crafted her talents from a young age. She has studied dance and vocals extensively taking herself from the Twelfth Night Theatre to QPAC as well as many productions at the Harvest Rain Theatre.

Snoopy was possibly my favourite character in this production. Looking over Matt Johnston’s work in performance it is clear he is a character actor. One of the most entertaining character actors I’ve seen in a long time. At first I wondered if it’s difficult to play a dog. But after reading his roles such as the mad hatter and more recently the Lion in The Wizard of Oz at QPAC amongst other characters, it is easy to see he is in his element. He gave off an almost Nathan Lane-esque aura about him. Certainly not a side of Snoopy I’d ever thought of but nonetheless absolutely enjoyed.

The cast isn’t the only hard workers in this production though. They are the result of three very talented people.  Firstly Sophie Woodward needs to be applauded for the musical direction of this production. Although each of the cast were impressive with their voices alone my favourite songs were always the ones that collectively pulled each voice together into a harmony. But this is not a musical to be considered dull. George Canham choreographed each performance. The vivid movements under his guide made the audience want to dance too. Finally, there is the woman who pulled it all together, Meg Ham. She has had experience on and off the stage. She set out with a musical that has been done so often and made it into a fresh performance.

This is also the second production to fly the AFFILIATE PROJECT flag. A project the Harvest Rain Theatre has begun conducting to get the passion of independent producers works onto the stage. I’ve been following it closely since their first Affiliate Project Production and hope to see more.

When the stage opened with poor old Charlie and his neurotic musings I panicked. I thought, “Oh God, it’s a musical about me!” His monologue of self-doubt, confusion, over-thinking and worrisome concerns all embodied a late night session of my thoughts before I fall asleep. I turned to a friend and indulged her in this observation when she replied, “That’s funny, and I was wondering if they’d written a musical about my life.” That’s when I realised we’re all a bit of a Charlie Brown. Not necessarily our football punting skills or our ability to fly a kite but the nervousness that keeps us going. That awkwardness in your step when seeing someone you have a bit of a crush on. It’s something everyone can relate to.

That’s why Charlie Brown always has a soft spot in my heart. But more to the point that’s why it is worth it to see this production of You’re A Good Man, Charlie Brown, to see with your own eyes Charlie’s struggles, Snoopy’s antics and the hilarious dilemmas of the entire cast.

bombshells

Bombshells

Queensland Theatre Company

Featuring Christen O’Leary

Directed by Wesley Enoch

17th March – 21st April

 

“A one person show is an act of endurance for a performer and a true showcase of their skills.”

Director, Wesley Enoch

From Australia’s foremost female playwright, Johanna Murray-Smith, who brought us the phenomenal Songs for Nobodies (currently pitching to the Broadway gods), comes this neat little show, which Murray-Smith wrote for award-winning, just-about-to-return-to-Broadway powerhouse performer, Caroline O’Connor. I think it’s fair to say that there is not a performer anywhere in the world, quite like Caroline O’Connor and despite her having teensy, tiny feet; O’Connor’s are big shoes to fill. Of course, there was never any intention to recreate the original production but it’s hard to forget it, isn’t it?

Luckily, Christen O’Leary won us over on Monday night – within seconds, in fact – with her first character, my absolute favourite, Meryl Louise Davenport, the inadequate mother, frantic with school day preparation, distraction and procrastination, continuously despairing over her unsuccessful attempts to “connect” with her children, her husband, herself as well as her inability to complete even the most menial tasks for the household when she’s “not even working”. Every mother must recognise this mother! In abject horror, we see in Meryl our own failings in every area – even sleep – and we have to laugh. But it’s from a place that is so uncomfortably familiar; we squirm and silently wonder, “Oh wow… was that really my day today?” And the louder inner voice, in the same rapid-fire delivery as O’Leary’s, which we feel sure everybody around us can hear, with its cruel judgment and damnation replies, “YES. Yes, it was, you hopeless, ambitionless, pathetic excuse for a child-rearing, formally-completely-capable, desirable woman, wife and mother.” Oh. Yes. Well, fuck.

O’Leary’s performance during this opening out-loud-inner monologue is absolutely superb. With heightened energy and frenetic business, her voice supports her thrown-together school-run persona (“lipstick, that’ll do it, whack it on; that way the other mothers will think I’m in control!”) and it’s funny because it’s true; we all have those days.

Next, we meet her neighbor, Tiggy, a succulent lover. That is, a lover of succulents who has recently lost a lover. Her anguish is almost palpable and we feel for this woman, with such well laid plans that have come well unstuck. She is comforted by the success of her enormous cactus, ridiculously phallic, making us feel sorry for the poor bugger to which she likens it, whom she suddenly spots in the audience, thereafter directing every insult to him! Nicely staged. Meryl and Tiggy, along with the beautiful widowed soul, Winsome, who we meet later, at sixty-eight allowing the label afforded her, determine who she is. An unexpected erotic encounter changes Winsome when she – and we – presumed nothing of the sort would ever happen to her again. Those of us older than twittering age (and I’m not referring to social media) appreciate her gentle, stately grace, her benevolence, her life of new routine to fit in with “the widows”, while students, too young to see past the imagery conjured by mummy porn and O’Leary’s facial expressions as she reads it aloud, giggle at the comical, clever writing. O’Leary’s commitment to the woman’s story is assisted in this piece by the exquisite execution of pause. Giggling students take note and do see this play again in a few years.

Mary O’Donnell is the character I like least. I’ve seen all manner of interpretations – this monologue is popular for auditions and senior assessment – and her inflated ego and misguided ambition is the tragi-comedy of another familiar situation; that of the high school talent show. (Cue Mr G style approach to performance.) The character prepares Lloyd Webber’s Macavity, in full drama class cat regalia (ie leotard, tail and ears), only to find her nemesis performs the same song, leaving O’Donnell with no option but to perform an impromptu, interpretive Shaft number. It falls flat. I must say, I prefer all lip-synching (drag queens) or all singing (everybody but drag queens), rather than hear a combination of the two. It was during Macavity that I felt O’Leary’s voice started to tire and she appeared to work much harder at this point, to harness the massive amount of energy needed to go on with the show. The Shaft sequence is simply too long, albeit hilarious at first.

Next, the sister of O’Donnell’s trophy-touting, triple- threat nemesis, Theresa McTerry, is getting married and we get the sense that IT’S ALL ABOUT THE DRESS. This is one story I don’t relate to but I’m sure, from the number of reality TV shows built on the same premise, that other brides must. O’Leary sips pink sparkling while dressing and freaking out, knowing she’s about to make a huge mistake.

Cabaret star, Liza Zoe, is hardened and fabulously drunk, though she lays claim to sobriety and leaves us with our own lingering thoughts on the conflicts associated with celebrity and fortune, forcing the question, what is it all for? This final piece is the one which truly showcases Simone Romaniuk’s ingenious revolving set, all mirrors on this side (we’ve seen the practical reverse of cupboards and doorways, which house dozens of props and wardrobe items), taking over for a moment as the star of the show and providing a glittering backdrop to O’Leary’s final story, told largely in song (Composer/Sound Designer Phil Slade). Daniel Anderson’s lighting design (Lighting Consultant David Walters) is exemplary in the first and final scenes. O’Leary is stunning in a distinctive silver gown, featured in The Courier Mail’s interview with O’Leary on Saturday). The words were perhaps a little too slurred – I wanted to discern what she was singing about – and although I felt her vocals had recovered somewhat, I would like to hear O’Leary sing again. Something outside of this show, something that is ideal for her. I didn’t see Voice Coach, Melissa Agnew (my own, incidentally, back in the QUT days and it’s always a delight to run into her in foyers now) but I would be interested to hear what sort of tips she has for vocal health and stamina during the run of such a demanding show.

In each character we see the high level of commitment and subtext that can only come from a skilled actress and director, working in close partnership during the creative process. For students of the craft, there is more where that came from at QPAC this week. Not only O’Leary but also, Miriam Margoyles is this week at the venue. Margoyles attended the Bombshells preview on Monday night and stayed to sit in on director’s notes after the show (after being stopped for photographs with Matthew Flinders Anglican College students, who were kindly and most generously advised by the doyenne, “Always, always go to your light, girls”. A pointed note and a beautiful moment, which I’m sure they’ll remember for many years to come). Keep an eye out for Michelle’s review of Margoyles’ Dickens’ Women, which also opens tonight, when QPAC will be awash with pink and bling (the dress advice for Bombshells attendees).

I feel that the slightly older bombshells are sitting with O’Leary very comfortably. We see their ticks and take in their nuances. We feel for them and whether or not we are ready to see the harsh truth, the women become our mirrors, just as Murray-Smith intended.

So often, six women rather than one perform this show and it is little wonder; this is one of the toughest gigs in town to pull off. I’m sure the opening night audience tonight will find that Christen O’Leary does just that.

the eastside belles

If I were not already committed to seeing Ignatian’s Sweeney Todd on Saturday night, I’d be in Albion, enjoying dinner and a first class show from the newest vocalising vintage vixens to sweep into town, The Eastside Belles. If you’re quick, you can still book tickets for this one night only event. From what we hear, the venue, the vino and the fare on offer is all pretty fine too so if you can, spend your $80 each and get 3 courses and the show. There’s a $35 show only ticket too, if you’re opting for 2 minute noodles and pop tarts (do they still make pop tarts?) before you leave the house so you afford a cab. That’s okay too because the important thing is to see these girls. Performance Studies students, you should see these girls. With influences ranging from the Andrew Sisters to the Puppino Sisters and numbers from Cabaret, Chicago, The Color Purple and Jekyll and Hyde, there’s no one else like them in Brisvegas.

These are true triple-threat, versatile performers. (You might have seen Katie on a burlesque stage and you’ll soon see Cath in QMT’s upcoming production of Oliver!). You may already have seen The Eastside Belles perform with Big Bands Scream and Brassroots.

With an ecclectic 6 octave range, Cath Belle (Cath Toomey,) manages to capture the sultry to the sublime in her soulful vocals.

She’s known for her versatility and dynamic performance style which has taken her around the world.

She was based for almost 7 years in Europe where she fronted various Jazz, blues and Funk bands, held leading roles in a variety of touring musicals as well as co-ordinating opera and gospel music at the Vatican and key European Cathedral events.

Though having studied singing under a variety of European Gurus as well as training classically at Sydney’s Conservatorium of music, her natural ability for music was first fostered by her family and began creating a traditional soul, jazz and lyrical repertoire from the age of 5!

Originally trained as a pianist & violinist by Suzuki method, Catherine’s primary love is singing.  She attended MacDonald Performing Arts College as a Dancer and Musician and has Degree in Media and Communications from Macquarie University.

Katie ‘Blue-Velvet’ Belle appears sweet and timid at first… but wait until you really get to know her!

After studying piano and music theory as a child, at the age of 14 Ms Velvet wrote her first song and discovered she enjoyed belting out a tune.

Since then she has studied classical and jazz, and pursuid her passion for original music as a vocalist in rock bands for the past 10 years.

This creative gal has a degree in Graphic Design from Griffith University, and performs regularly on the local burlesque scene, swanning in feathers and sequins.

Her glances, sultry vocals and ‘bumps and grinds’ really capture the playfulness of yesteryear.

 

She is full of attitude and exuberance with a big voice to boot! Tash Belle (nee Tash York) has been involved in Brisbane’s entertainment scene for over 5 years and has been in over 15 stage/musical productions.

With a great passion for making music and voice work Tash’s love lies in Musical Theatre. Her theatre credits include Lady of the Lake (Spamalot), Ellen (Miss Saigon) and Sally Bowles (Cabaret).

She gigs in a variety bands and vocal groups but finds great joy in experiencing the harmonies and plethora of music genres that the Belles explore.

In 2010 she graduated from a double degree in Business (Human Resources) and Fine Arts (Drama) and instead of pursuing a steady job she has decided to follow her passion and study a Full time Music Theatre Course at the Queensland Conservatorium of Music (aka “the Con”).

Our Newest Belle brings an ‘old world class’ with a ‘new world edge.’

You don’t know what impresses you more, her emotional vocals, adorable movements or stunning looks.

This is an opportunity to meet The Eastside Belles in a more intimate setting.

Limited seating. A few tickets remaining. Bookings (07) 3262 3738