Opera Australia’s A Midsummer Night’s Dream

A Midsummer Night’s Dream

Opera Australia

QPAC Lyric Theatre

1st – 9th June 2012

Reviewed by Michelle Bull

Enticed by the faint smell of incense creeping under the doors of the Lyric theatre, you could be forgiven for thinking you were about to see a touring Bollywood production and not an opera by Opera Australia. But as the next few hours unfolded, there was no mistaking this production for anything else but Baz Luhrmann’s take on Britten’s A Midsummer Night’s Dream, set in 1923 India.

For those of you unfamiliar with Shakespeare’s enchanting tale, it goes something like this…The Queen of the Fairies, Tytania, is a tad smitten with her charge, a young Indian boy, so much so that King Oberon gets a little upset and consequently the two have a bit of a spat. King Oberon sends his servant Puck to fetch a potion that with one-drop causes love at first sight, Oberon intends to use this on Tytania. Meanwhile there’s a love quadrangle going on with mortals Helena, Hermia, Lysander and Demetrius, and the impish Oberon decides to test out his potion on them, causing quite the kafuffle. Also in the forest that night (it’s a busy wood this one), are the rustics (workmen), who are there to rehearse a play intended for the wedding of the Duke of Athens Theseus and his Queen Hippolyta. They also get muddled up with the potion and so it all gets quite messy. There are three weddings, a dramatic death scene and then day breaks and all is well…phew! Quite a lot of narrative to digest in three acts, but the wonders of a decadent set and some glorious singing defiantly aid digestion.

Dressed in vibrant colour and speckled with glimmers of firelight and flowers the stage (Catherine Martin, Bill Marron) is the picture of a magical fairy woodland. I was completely immersed even before the opera had begun. Incense, and a soundscape of birds and forest sounds were the perfect finishing touches to a set that housed a water pool, suspended bridges draped in vines, flowers and the superb sounds of the Queensland Symphony Orchestra!

One by one we were introduced to the characters, from Fairy Kings and Queens, love struck mortals and dancing nymphs and faries. The costuming and makeup of all was impeccable, and reminiscent of Hindu Gods and Goddesses, tying into the choreography that throughout was also inspired by bollywood-esque gesture and lines (John O’Connell).

Overall, the entire cast was strong both in voice and characterisation. Tobias Cole as King Oberon was utterly hypnotic. His wonderfully balanced and resonant counter-tenor, added to the statuesque elegance he brought to the role. I was entranced and unnerved all at once; the perfect Fairy King.

Portraying the same unnerving smile as complement was Tyler Coppin as the impish Puck. Bringing a childlike physicality and sense of play to the role he delivered with strong comic timing and a wonderful melodic shaping to his treatment of the text.

His Queen, Lorena Gore as Fairy Queen Tytania was also an absolute joy to watch. With a ringing brightness and light agility to her pretty coloratura she encapsulated all a Fairy Queen should, gliding across the stage with a flirty cheekiness that made her instantly loveable.

The Lovers – Hermia, Helena, Lysander and Demetrius – all gave solid performances both individually and as an ensemble. James Egglestone as Lysander was sweet and sung with a wonderful sense of poise and connectedness despite the rigorous physical demands of the role. Luke Gabbedy as Demetrius also commanded a strong presence onstage both physically and vocally, managing effortlessly a balance of strength and tenderness to his large lyric baritone.

I particularly enjoyed Jade Ede as Helena. Awkwardly philosophical and hopelessly love struck, her beautiful soprano cascaded effortlessly through from top to bottom, providing a magnificent contrast to the rough and ready physicality of her character.

Sian Pendry as Hermia provided a chocolaty legitimate mezzo sound to her role. Her feisty attack on Helena was hilarious and showed Pendry’s wonderful dedication to character in its intensity; the duet between the two, a comic and musical highlight that showed the skill of the performers as they leapt and lurched across the stage while maintaining control of the vocal line.

The six rustics were next to win our hearts and raised a cheer each time they entered. Like a cross between bumbling workman and Dad’s Army, they brought a wonderful comic element to the show. Each with their own character within the group provided a solid ensemble. Bottom, (a weaver) played by Conal Coad, was hilarious and with an authoritative bass baritone who exploited the comic moments for all they were worth. His love scenes (as an Ass) with Tytania were very amusing and left not much to the imagination. I heard a few tut tuts from the audience at the suggestiveness of some of these scenes but it was all in good fun!

Graeme MacFarlene played Flute, a bellows mender (and Thisbe in the Rustics play). Showing adaptability and great characterisation within his voice, his strong tenor was matched by his skill as a wonderful comic actor.

Quince (Richard Anderson), Snug (Richard Alexander), Stout (John Longmuir) and Starveling (Andrew Moran) were each individually very funny in their roles. The Rustics overall ensemble sound was beautifully balanced and musical, and they quick became audience favorites.

The final act gave us the wonderfully strong Bass voice of Jud Arthur as Theseus and contralto Tania Ferris as Hippolyta. Despite occupying a small amount of stage time, I really enjoyed both their performances; Arthur’s Bass sound filled the entire Lyric theatre effortlessly, and Ferris’s contralto was controlled and rich and oozed regality.

The cast are supported throughout by an enchanting chorus of fairies, spirits and dancing nymphs, mischievous and wide eyed with a beautiful ensemble sound. The Act 3 finale Now Until the Break of Day was a highlight, showcasing the ethereal sound of the children’s chorus.

There is so much to love about this current production by Opera Australia, that I feel I need a review twice as long to include it all. There is a glamour to this production that is utterly charming. The fairy tale does not ignore Britten’s darker underlying themes lurking in the shadows and skillfully lures its audience in through an intelligent approach to the intricacies of the score and staging.

This creates a magical fairytale with just the right amount of grit to give it an unnerving other worldly air. The cast are superb and with a set that transports you to a fairy dreamland from the minute you enter the space, the three acts whizz by so fast that you wish you could keep dreaming.

The Magic Flute

The Magic Flute

QPAC Lyric Theatre

26th May – 8th June

Reviewed by Michelle Bull

Normally when I ask my guitarist fiancé to accompany me along to the opera, I am met with a resounding silence, followed by a groan that sounds like the death of a small mammal. It’s not that he’s uncultured; in fact he spends more time practicing his art than I do..…It’s just that when it comes to opera, most of it bores him senseless, and frankly quite often I feel the same.

So imagine my (delighted) disbelief when he politely insisted on coming along to the opening of Opera Australia’s The Magic Flute on Saturday night! Enticed by the fantastical spectacle of a slick advertising campaign, he donned his finest and together we joined the throng of faux furs and pearls cramming into the theatre for what was sure to be a spectacle of operatic proportions.

Showing at QPAC’s Lyric Theatre, this latest production directed by Matthew Barclay (original production by Julie Taymor) is a fantastical take on Mozart’s much loved opera. Creating a surrealist world through larger than life puppetry, costuming and sets, The Magic Flute is a colorful and magnificent fantasy that brings out the wondrous wide-eyed kid inside.

Sung in English and with a plot centered around mans search for love and his struggle to attain wisdom and virtue, The Magic Flute is to be enjoyed by those looking for some light entertainment to spice up their Saturday night as well as opera aficionados wanting to dig their teeth into themes of Masonic Ritual, good vs. evil, enlightenment, Egyptian symbolism and the mysterious rule of three embedded into the music and libretto.

There is some stunning singing by the cast. Stephen Smith as Prince Tamino gives a solid performance, his light tenor soaring rather effortlessly with a great sense of musicality. Equally as strong is Taryn Fiebig as Pamina. Her signature aria ‘I feel it, it is vanished’ (Ach, ich fühl’s) is sung with a beautiful sense of height and shimmering vocal colour, although personally I found the English translation not as complementary to the musical line as the original text in German.

Andrew Jones as Papageno is the epitamy of a cheeky, boyish bird catcher. Vocally rich and with a commanding stage presence, the physicality he brings to the role makes for an energy driven and holistic performance that wins the hearts of all.

I did feel however his character was affected by some characteristics of the translated libretto. Although the use of natural Australian accents throughout the production seemed at first a little too ‘familiar’ for the dreamlike world created onstage, it didn’t bug me as much as the colloquialisms sprinkled in for good measure. References to ‘Ice-magic’ and the odd ‘Mate’, I found distracting. Part of the appeal of this production for me was the escape into the illusions and while bringing in cultural relevance; I felt these adaptations were a tad superfluous.

There are however many inspired moments in the production. The Queen of the Night (Milica Ilic) is mesmerising and embodies a commanding presence onstage. The staging and execution of her aria ‘Hell’s vengeance boils in my heart (Der Hölle Rache kocht in meinem Herzen) was a standout, sung with a wonderful sense of control and poise that did not detract from the freedom and agility of the sound.

Milica Ilic as Queen of the Night and Taryn Fiebig as Pamina. Image by Justin Nicholas.

I also particularly enjoyed Kanen Breen in the role of Monostatos whose embodiment of character both in voice and physicality reminded me of Commedia’s Pulcinella. Singing with a wonderfully legitimate weight and buoyancy to the voice Breen remained present vocally throughout some energetic staging, balancing a great character performance with legitimate singing. Breen’s energised performance was by far one of the standouts in this production for me.

Kiandra Howarth as the sweet-faced Papagena gives a short but vocally secure and well-rounded performance, sharing a wonderful playful chemistry with her Papageno.

Operatunity Oz winner David Parkin brings an authoritative rumbling Bass to the character of Sarastro that although impressive in timbre was at times overpowered by the orchestra in the bottom of his range, a fate also affecting the trio of First, Second and Third Ladies (Elisa Wilson, Victoria Lambourn & Tania Ferris) whose wonderfully balanced ensemble sound carried strongly but who lost some individual lines and dialogue under the swell of the orchestra. This was also the case with the three ‘Spirits’ (Jude Korab, Louis Backstrom & Campbell Hall), although the delicacy of their blended sound brought a fitting ethereal quality to their characters.

The Opera Australia chorus is a constant thrill and in this production is equally matched by puppeteers and dancers that provide a rich visual spectacle to the characters individual journeys. Queensland Symphony are also in fine form, supporting the artists with a mostly great sensitivity. Mozart’s score provides a wonderful tapestry of sound that allows Conductor, Anthony Legge, to drive the action onstage scooping the audience up in the arms of the familiar score.

So what was the verdict? Overall, Opera Australia’s The Magic Flute is a lovely production. Perfectly accessible and with something to ignite a sense of wonder inside the hearts of everyone wherever their operatic inclinations lie, I would encourage even those of you who don’t ‘like opera’ to give it a try…if an operatically-reluctant musician went home whistling Papageno’s aria and demanding a ticket to the next production that comes to town, it’s a pretty good recommendation.

Andrew Jones as Papageno. Image by Justin Nicholas.

Naturally 7

Naturally 7

QPAC Concert Hall

22nd May 2012

Reviewed by Michelle Bull

1992. I was ten years old. Singing in choirs, into hairbrushes and holding mini concerts in our garage for anyone who would come and watch for the high price of 50 cents a ticket. Obsessed with Boys II Men’s hit song End of the Road, I would sing along with each harmony, often adding my own into the mix…an odd little thing in tacky 90’s jumpers, scrunchie in my ponytail and rolled-down ankle socks…getting my first appreciation of vocal harmony…

On Tuesday I relived the above memory as I ventured to QPAC to experience Naturally 7 as they descended upon Brisbane as part of their VOCALPLAY tour. Hailing from New York, this acapella, beat boxing, gospel, Motown, hip-hop vocal group perform a unique style aptly known as Vocal Play. Offering so much more than your average harmony group, Naturally 7 took the jam-packed Concert Hall on a journey through funky originals, mashed-up pop favorites and moving acoustic medleys using nothing but their velvety toned voices to cause the entire Concert Hall to dance in the aisles.

Before Naturally 7 took to the stage, warming the crowd was Brisbane’s own beat boxing champion Tom Thum. Taking the audience on a round the world trip with his charismatic vocal pyrotechnics, this 20-something Brissie-boy is no ordinary beat boxer. Awe-inspiring and funny to boot, I first discovered Tom at the Adelaide Fringe Festival, and have been a huge fan ever since. Tom’s ability to vocally reproduce every instrument in the orchestra as well as those not yet invented…is only matched by his endless repertoire of vocal percussion…throw in a loop pedal and a dash of cheeky boyish charm and Tom gives our homegrown talent serious cred!

Then as Tom left the stage to a cheering crowd, it was time for Naturally 7.

One by one the members of the band took to the stage layering tones, beats and bass and building to an all-encompassing sound so legit I could feel it in the pit of my stomach.

Uninitiated to the musical -world of Naturally 7, I wasn’t familiar with their original music (Keep the Customer Satisfied, Life Goes On) but killer arrangements and sensitive musicality made this irrelevant. Scooping up the uninitiated with familiar pop rock mash ups (Burt Bacharach’s What the World Needs Now, Mr. Mister’s Broken Wings, Phil Collins’ Feel It In the Air Tonight) sung and orchestrated with freakishly impeccable tuning and musicality made me a instant fan of this lively group.

Arrangements by musical director Roger Thomas utilised harmonic and rhythmic devices from classical, jazz, world and even early music; culminating in a place where hip-hop met harmony through songs that served as perfect vehicles for the groups extensive vocal orchestra. Their world class beat boxing skills stood side by side with their vocal reproductions of sounds that stretched from double bass, electric guitar and clarinet to harmonica, scratching and percussion. The overall effect was absolutely unbelievable and a true demonstration of what human voices are capable of.

With natural camaraderie and solid sense of ensemble, Naturally 7 balance heart-felt emotion with playfulness, rounding it all off with obligatory boy-band-esque choreography that only their cheeky stage personas let them get away with. It seems ridiculous to highlight any one voice amongst seven incredible sets of cords but I found myself unexplainably excited when Bass singer ‘Hops’ Hutton stepped forward for a solo (there’s just something about Basses…what can I say!). That being said, each singer brought something unique to the group, which was evident in each performer’s solo moments that found me finding a new favourite singer with every song.

Personal highlights were the moments where all the production was stripped away, showcasing the seven legitimate voices as they filled the acoustic that is the Concert Hall wall to wall. A Simon and Garfunkel medley was completely soul stirring as was the encore performance of Amazing Grace.

Naturally 7 are what great singing is all about. While I am not as much of a fan of R&B and hip-hop as I once was back in my jumper wearing, scrunchie styling days, I AM a fan of good musicians, great vocalists and kick-ass performers and Naturally 7 are all of the above. With a talent that surpasses simply great singing, the musical bar is raised…now how on earth do I “reverse dry-kick” while sustaining a high C? Hmmm….

THE NEVERENDING STORY

The Neverending Story

Harvest Rain Theatre Company

QPAC Cremorne Theatre

29^th April – 12^th May

Nobody alert Tim Burton to this great movie.. he WILL remake it and he WILL cast Johnny Depp in EVERY damn role.

Leew2oo6′s on YouTube

I’ve never read Michael Ende’s book but I grew up watching The Neverending Story. I wanted Fantasia to exist outside of my head and dreaded its demise, if ever my imagination failed me. Now I watch the movie with my five-year old, who feels the same emotions I do, which is perfect because I know when to hold her close. The Neverending Story (1984) is up there with Labyrinth (1986) and The Goonies (1985). They are the classic, cult eighties’ films of my childhood (and I don’t mind betting that O’Connor is at work on the stage adaptions of these two too!). I’m an eighties’ child and proud of it! Now, for a whole new generation of children (and their parents), this wonderful story has been brought to life on the Brisbane stage.

In just 3 weeks, Harvest Rain Theatre Company, known for its family friendly entertainment, has done an incredible job in preparing this show for the stage. From the outset, this production – the first known stage adaptation, thanks to Tim O’Connor’s arrangement with Verlag Fur Kindertheater, of Ende’s book – is magical. With original music from the film by Klaus Doldinger (by arrangement with Constantin Music) and additional original music incorporated seamlessly by the super-talented Maitlohn Drew, I found myself joining the characters on their epic journey, when usually, if I’m reviewing, it’s possible to stay somewhat removed from the production!

Before the show begins, there are hidden elements in the Proscenium for the audience to spot (or not). This is genius, delighting kids and adults alike. We are instantly engrossed and expecting more magic. I was pleased to see that the final moments of the show accounted for those who, like me, appreciate a bit of symmetry and full circle work to their magic. Props to those ensemble performers – second year interns in Harvest Rain’s Full Time training program – who play the supporting roles and become together, a declamatory Greek Chorus, their Greek Guard Steampunk garb befitting of the gates and Sphinxes, whose forms they assume. They are: Casey McCollow (who will play Tracy Turnblad in HR’s upcoming production of Hairspray), Cameron Whitten, Dana Musil, Cassie Dormer, Lauren Heidecker, Morgan Kempster, Danny Lazar, Ebony McGeady and Cameron Rollo. They serve as the narrators throughout the play (somebody sounds surprisingly similar to Melanie Zanetti! Look out!), allowing the action to skip along nicely without the use of a projector and a big screen (how old school! Community theatre groups take note!), as well as all manner of inanimate objects: after the Sphinxes, the remaining two gates through which Atreyu must pass, receive similarly clever treatment. This is not just the stuff of Year 9 high school tableaus and drama games; this is the step beyond, interwoven within the context of the drama, which we’ve been waiting to see for a long time from HR.

Oh. Right. Let’s do a quick check of the story for the newbies, shall we? For those of you who, like me, expect to the letter, the narrative structure of the film, you won’t be disappointed. Everything is there. We don’t see Bastian’s bullies but we know they’re there and rather than reap revenge on them, as he does in the film, Bastian simply walks away, off into the real world, more like his alter-ego, Atreyu, than the Bastian we knew, ready to take on his aggressors, no matter what shape or form; a conclusion I like very much. Is that decision book inspired or O’Connor inspired? It’s a nice touch.

For those who are unfamiliar with Michael Ende’s original, fantastical tale, it’s all made very clear in just 70 minutes. Bastian (David Lawrence) hides out in a big, old bookstore, from a gang of school bullies. The owner of the bookstore is Mr Coreander. In this role, Ron Kelly softens nicely after a deliberately awkward start, eventually connecting with Bastian and allowing us to finally connect with him. He “can’t abide children”, however; he sees something in Bastian that makes him leave a mysterious book within the troubled boy’s reach and Bastian decides to “borrow” it. The only place Bastian can read it undisturbed is in the school attic. What unfolds is the story within the pages of the book, an adventure; a warrior on a mission to save Fantasia.

Economical use of the space allows Bastian to stay in the attic for much of the play. This sounds limiting but it’s not. The action plays out below him, on stage, as he reads aloud from the book. He leaps up often enough and when he opens the heavy cover and turns the pages of the book, we see his lips moving and enjoy watching his beautifully expressive face as he reads, thanks to a perfectly positioned light, placed somewhere, seemingly, within the pages of the book. Incredibly, David Lawrence LOOKS enough like Bastian (Barret Oliver) in the movie to please even the most stoic fans. He’s just a little older, which means his appeal is broader. He’s not just “a little boy”; he’s every boy (and girl) looking for an adventure and avoiding growing up for just a little bit longer. (Did you know you can get your very own Auryn here?).

The Luck Dragon, Falkor, played by Anthony Standish, is tough and gruff and lovable (and apparently loves his blue slurpees) and The Childlike Empress, played by Erika Naddei is regal, graceful and wise beyond her years, just as she should be. Audiences will adore seeing the Rockchewer (an enormous puppet of Woodfordian inspiration and controlled in the same cooperative manner as Dead Puppet Society’s The Harbinger’s Old Man), Morla The Ancient One (another enormous puppet, although she is serpent not tortoise) and the odd travelling companions, Nighthob and Gluckuk. Thenadier-like comic relief comes as we get nearer the southern Oracle, in the hilarious antics of Engywook (Dan Crestani) and Urgl (Cameron Whitten), the quarrelling gnomes. These two are outstanding in these quirky roles and I’m sure there will be parents or grandparents who relate to their bickering… I mean that in the most loving, caring way.

Dan Venz is the boy warrior, Atreyu (we last saw him as the Tinman in The Wizard of Oz and we’ll see him next as Link Larkin in Hairspray) and while Venz looks quite perfect (as a Plains Person rather than the book’s Greenskin, just as the impassioned Noah Hathaway portrayed him in the film), his vocals are unconvincing. I strained at times to hear Venz and I felt the voice should more honestly reflect Atreyu’s feelings throughout his difficult journey. Particularly towards the end of the show, I felt that there was a great deal left undone…or not quite offered. Acting is giving. With only three weeks to rehearse, perhaps a little more vocal authenticity and a greater investment in the role will show itself during the run, as Venz realises the impact that this show is having (I’m predicting) on its audiences.

When the vocal work can extend to the delivery of the narrative (let’s not forget that we are, after all, communicating a story and if it must be told it must be told clearly), this show will want for nothing (CUE Vocal Coach. Nothing wrong with a mid-season rehearsal!). What already works wonderfully, is the ensemble’s vocal underscoring, Ron Kelly as the terrifying (and wonderfully dread-locked!) werewolf, Gmork, and Crestani as Artax, reminding us that the human voice is, indeed, capable of making, literally, thousands of sounds.

The difficult trek made by Atreyu and Artax through the Swamps of Sadness is impressive in its theatricality, using eerie vocal work and lighting, minimal cloth, space and perspective and, as you would expect, is devastating in its theatrical context. There were, understandably, whimpers and tears from the children (including my own) in the opening night audience. Crestani brilliantly uses the simplest movements and a free, confident voice to bring us “horse”. It’s an impressive performance and a devastating moment.

The fear factor too, is impressive, largely due to Kelly’s uninhibited portrayal of Gmork and less to do with the incoming The Nothing (my imagination needed a little more help with the latter. Was there no smoke machine?!). After the show, people wanted to know if my daughter had been scared. Yes, she had been. And what an achievement it is to create a terror on stage so vivid and real that genuine fear is generated amongst audience members!

If you are taking younger children to the show, do expect to hold them close to you throughout this scene (and throughout the fight scene, choreographed by Niki J-Price, between Atreyu and Gmork, one which I hope will pick up, pace-wise, as the season continues) and be prepared to talk about Ende’s many challenging themes of life and death and love and apathy on whatever level your child proposes. The beauty (and the bonus) of theatre designed to entertain all the family is that it has an entirely different impact on each individual and inspires intriguing discussions and wonderful memories for a long time after the show is over.

Of course, it’s the combined elements that make this story come alive. In addition to the evocative music (Amanda Tio on double bass, Sunkyoung Kim  and Naomi Otto on violin), Glenwright’s lighting is a work of art in itself, offering light and shadow to support the changing moods of the hero and his challenges. Josh McIntosh has created a set that is filled with wonder and yet never actually needs us to leave the confines of the old bookstore. This is a lovely piece of design work, with a curving staircase and shelves upon shelves of books. Design like this, which takes into account everything we see the director trying to achieve, must come from the implicit understanding of a shared vision amongst great friends and colleagues.

The end of this show is like enough The Lorax to mention it here (I bet The Lorax is on O’Connor’s To Do List too!).

I was dreading an ending that failed to make me feel like it was my responsibility to keep Fantasia and its inhabitants alive and I wasn’t disappointed. With Bastian, we make a promise to keep our feet off the ground more often. We saved Fantasia and we can do it again! Yeah! You just can’t beat a triumphant happy ending. Happy tears are the best.

Harvest Rain is getting better and better at staging family shows. By this I mean, they’ve always done them; now they’re doing them for the whole family. Tim O’Connor, a Brisbane Person of the Year Nominee, is making bolder choices and they’re paying off. I think it’s safe to say that Harvest Rain is the premiere provider of family friendly theatre in Brisbane.

Regardless of your age or your affiliation with b-grade adventure films or the eighties, you will enjoy The Neverending Story. And your kids will enjoy it even more. In fact, I’m prepared to bet that they talk about it for the rest of the year, after they tell their friends, “Yeah, I saw ANNIE…but did you see The Neverending Story?!” Don’t let any of the kids – big or little – miss this bit of magic.

While you’re booking your tickets online, enjoy this bit of magic, from LIMAHL. Ha! Laugh it up, fuzzballs!

Production Images by Josh Woning

QTC’s Romeo and Juliet

Romeo and Juliet

Queensland Theatre Company

QPAC Playhouse

26^th April – 13^th May

 

I wonder… Does a favourable review earn the best seats in the house, commonly known as The Stalls? I only wonder because I fear the next seats allocated to me by QTC may be in what is commonly known as The Foyer.

Romeo and Juliet is probably one of the few shows staged in the Playhouse that I can honestly say looks just fine from the balcony. I can say that because that’s where I was sitting on opening night. The guy next to me enjoyed the show, and adored my fragrance. It was Lancome’s Poeme. Before the show started and as we were leaving, he told me how divine it was. I told him that divine is better than offensive and that sometimes it brings on a migraine, though certainly not consistently enough to have to get rid of the stuff. I used to wear vanilla oil to the theatre but that only made people hungry! (Try it! It smells delicious!).

The distinct advantage of the balcony seats has to be the frequent glimpses of interesting reflections on the surface of a pool of shallow water, reflections that may be missed by those sitting in the stalls. Under utilised, this body of water is perhaps intended to be more symbolic than practical. The first impression it makes upon us is a powerful one. A single drip drops into the pool, breaking its surface and sending out ripples, which continue across the surface of the stage, reminding us that every little cause has its multiple effects.

I was waiting for somebody to fall dramatically into the water and die with a splash but of course neither Tybalt (Ross Balbuziente) nor Paris (Tim Dashwood) do… this sacred space is reserved for the very attractive corpses of our young lovers, Romeo and Juliet, played by Thomas Larkin and Melanie Zanetti, who, for the record, are aged 25 and 27 respectively.

You might have noticed some excitement about the marketing surrounding this production? Some controversy? Yes. It was about the same level of controversy that surrounded the release of an image of Paul Bishop and Veronica Neave in 1996. For the full story this time around – and for his always-excellent notes – read Baz McAlister’s piece in the program. This time, we see Neave as Mercutio and she is a delight to watch– elfin and acutely aware of herself in the space, as one would expect from a seasoned professional. Her movement is at once both agile and fluid. Although I thoroughly enjoyed Neave’s performance, I can’t help feeling she was not the Mercutio needed in this production; I’d like to have seen another dazzling, dynamite male actor complete the Montague gang! Many of his quips and those directed towards him would make more sense. I’ve seen this level of gender-blind casting done before and it wasn’t entirely successful then either. Enough of the PC casting, okay? It’s not surprising anymore and it’s not offending any of us to put a man in a male role! I know! Full circle! Woah!

I had to laugh when a friend revealed that he had told QTC’s Artistic Director, Wesley Enoch, that this show should be called Romeo ABS Juliet. I came away with exactly the same impression. You see the young men in this production are extraordinarily… ripped. Let me say that again so that it’s clear to those who, like me, come away disappointed by the lack of nudity elsewhere in the production (false advertising?).

The young men in this production are extraordinarily RIPPED.

Have they spent more time working out than rehearsing?! I remember the boys in high school, for a Rock Eisteddfod (as it was then known), in which they were (shirtless) cowboys, having to paint on abs like these guys have! The physiques are to be admired and with shirts unbuttoned and left wide open they are certainly supposed to be on display. If it were not so bloody impressive, it would be comical, like scenes from Baywatch.

n.b. a scene not unlike the one captured by Rob Maccoll in the image below was actually seen in an episode (during Season 9) of Baywatch.

Nikki J-Price and Lisa Wilson have choreographed fight sequences that are more balletic than athletic, which are perfectly underscored and pretty but at times lacking in the authentic passion and aggression demanded by a plot that is driven as much by long-held hatred as it is driven by love. The shrill vocals that open and close the show resonate briefly with me, with such a jarring, scarring quality that they remind me of the crucifixion in Jesus Christ Superstar or those terrifying moments in the Stampede in The Lion King (Composition and Sound Design by Phil Slade).

So. Okay. We know the story. SPOILER ALERT! We know it’s not a happy ending. It’s like watching Titanic, isn’t it? Big ship hits bigger iceberg and sinks, right? Romeo and Juliet is about a couple of kids from opposite ends of town who fall in love and through a terrible misunderstanding, somebody else’s mistake; die.

Larkin and Zanetti make a gorgeous couple but Larkin need not stoop! Stand up straight, sir! Zanetti is, after all, accustomed to being the height she is and feels fine, I suspect, having to look up at you! The awkward posturing continues away from Zanetti and we get used to it, along with a few other odd staging decisions. That aside, these two are pretty perfectly matched and mirror each other’s innocent joy and some sense of deep passion, however; this is no Spring Awakening! Perhaps, given more time, we would have seen – and felt – more of the highly anticipated “sizzle” between these two. Zanetti has achieved admirably, the whirly, heady (and headstrong), heedless, impressionable, delightful state of a fourteen year old and the production benefits enormously from her energy.

It feels like the action could be happening anywhere because the set looks like nowhere on Earth. Bill Haycock’s design certainly doesn’t lend itself to old Verona but more to giant, old, rancid cheese blocks (and I’m aware that some people like their cheese like this), which are supposed to inspire visions or vague memories, for those who know it, of The Globe, where Shakespeare originally staged his works. Instead, I can’t help query sight lines and the wisdom of building baby poo coloured walls on any stage for the good of any production. The costumes (and I like the costumes, also by Bill Haycock) clash or become lost against it. Somehow the lighting  (by David Walters) doesn’t help when I expect it to. Although the gentle water effects are simply beautiful by the time we come to join Romeo and Juliet in their tomb, before then it’s like the ugly lights have come on and everybody has carried on dancing, regardless. Did no one learn anything from Summer of the Seventeenth Doll?

To state the obvious, there’s a great deal of talent in this cast and I did enjoy insightful, measured performances from Norman Doyle as Montague and Steven Tandy as Friar Lawrence. I enjoyed Andrea Moor as the-mother-that-could (but won’t) Lady Capulet and Steven Grives as Capulet, though I abhor him for his treatment of his daughter, Juliet…a sure measure of his hitting the mark! I’d like to see the younger members of this ensemble play a little more together too…clearly it’s time to get to see some shake & stir!

IMHO this Romeo and Juliet is Caroline Kennison’s show. As Nurse, Kennison reveals the true wit, pace, pathos and humour of the Bard’s words and sounds more Australian than Shakespearean but when staging a “contemporary” production, that’s okay, isn’t it? I mean, that’s the point, isn’t it? Don’t we want Shakespeare to stay accessible and relevant? Jennifer Flowers and QTC give Shakespeare’s Romeo and Juliet such a sexy, contemporary, fun, fast treatment (at 2 hours without interval, it will be too fast for some, without time to stop and smell the roses. I suspect somebody remembered that we all have TV and Internet attention spans now and directed accordingly) that you will just have to see for yourself, whether or not it is to your taste, rancid cheese walls and all.

Vicious Salon: stillness

Meredith McLean went along last week to check out heartBeast’s latest initiative:

Vicious Salon

“In the theatre there should be neither naturalism nor realism, but fantastic realism. Rightly found theatrical methods impart genuine life to the play upon the stage. The methods can be learned, but the form must be created. It has to be convinced by one’s fantasy. That is why I call it fantastic realism. Such a form exists and should exist in every art.”

Evgheny Vakhtangov, Theatre Director

There’s a push of new force happening in the Trinity Hall on Church Street. Some fuel this push with a simmering passion while others nurture it like a mother over-seeing her young. Vicious Salon is the result of the sinews and limbs that make up the body of heartBeast, the not-for-profit theatre ensemble in Brisbane.

A very excited Michael Beh, director and core member of heartBeast’s vicious faction, greeted me. He made me excited to be seeing the reading of Even Stillness Breathes Softly Against a Brick Wall. The performance had the effect I was hoping for. It commanded me to sit on the edge of my seat watching two actors, Anna O’Hara and Peter Crees, fall into chaos on stage. But they wouldn’t be in this void of stability if it weren’t for the playwriting of Brad Birch.

Birch’s script examines office culture, love and madness. The language is honest often times leaving me feel like the words were taken from my mouth. There were volleys of the C word which some of the audience confessed to disliking while others accepted it. I have sworn on my part not to use the “R word” (Meaning review, but don’t repeat it!). This isn’t an “R Word” for a very particular reason. Because at the heart of Vicious Salon no matter how vicious the words are from actors and writers mouths the performance is not a finite piece to be graded. It is an exploration of someone’s creation where both actor and audience alike can learn.

The name it self refuses all misgivings. Michael explained to me it was a comment on life. “Life is vicious. A kiss can be vicious. A tear falling down a cheek can be vicious. A smile can be vicious. The trickle of water in a stream can be vicious.” It’s an observation I’m sure many can relate to. In contrast to this poetic examination of the modern, “salon” comes from a deep root of theatre in history. Nothing like the “hair salon” middle aged ladies in their graying stages may refer to but salons in the 17^th and 18^th centuries when people would gather to laugh, learn and refine their craft in theatre. This clash of modern and historic all pools together for a warm-hearted night of discussion in the shadowy hall on Church Street.

Enjoying bruschetta and white wine I started to feel almost philosophical as we gathered in a circle to pick at and pull apart Birch’s work. The minimalism of the performance had many haunting analogies. Using the shadows as a backdrop and tumbling pages of the script on the floor to set the scene the theme of analysis rather than sell-out performances was evident. Many people forming the circle would have gone home satisfied with this deeper connection to a play while others gravely looked onto the social implications at hand.

Greg Goriss, the production manager associated with heartBeast, made clear he was not blind to the state of theatre around him. He questions the Queensland government’s default “You have QPAC, what more do you want?” response towards the theatre community’s concerns. But QPAC doesn’t offer this more honest level of communication between theatre-goers and the actors. For some this idea of speaking in depth with those involved in a performance over drinks and snacks is an alien concept. Goriss reminded me there is a difference between community theatre and underground theatre, and that underground theatre needs more attention than it is receiving at this time.

Undoubtedly this is true which is why I was delighted to see what Vicious Salon was achieving. Both Peter Crees, a co-founder of the project, and Anna O’Hara who had come aboard last year beamed as they put in plain words what it was the salon sessions accomplish. O’Hara reveled in her previous work with Michael Beh quoting a prior performance she had done as “a collaboration between Michael and Shakespeare”. The ways, in which Vicious Salon and heartBeast for that matter function, is to nurture someone’s craft. Especially for actors fresh out of any acting schooling she explained.  Michael Beh agreed, “We’re trying to build our little theatre family, and were happy to take in new people.”

This concept blossomed a few years ago when Beh found himself in a teacher position above Peter Crees as the student. I easily recognized Peter’s talent to revolve and capture the space of a stage and Michael must have seen it as well because soon their collaboration became a project, and that project became heartBeast. The company has done many shows ranging from contemporary like A Beautiful Frankenstein to an upcoming historical recount in the Anywhere Festival called Mother Country.

Brad Birch’s work also demonstrates a diverse but artistic choice in the company’s line up of performances. Based in Wales he has the caliber of a Writer in Residence position at Undeb Theatre as well as many prestigious commissions and programmes to his name. The blends of things such as the archaic and modern, well written but still budding, observant yet creative all link in with the purpose of Vicious Salon.

More of these Vicious Salon events have been lined up for June, July, August and September so far. Hopefully many more of these will follow, and I will be one in a crowd of those attending.

Brisbane’s Real Romeo proposes on stage

The world’s greatest love story has inspired Brisbane’s real Romeo to reveal himself…on stage on Saturday night after Queensland Theatre Company’s first preview of Romeo & Juliet at QPAC!

Tristan Botha, 24, from Forest Lakes, went down on bended knee in front of a full house and asked his very surprised girlfriend, Cynthia Osment, 27, from Oxley to marry him. Luckily for Tristan, the answer was a resounding yes! The audience – and the happy couple – left having experienced a happy ending after all.

Working with QTC in secret, Tristan had conspired to propose to Cynthia with the help of QTC Artistic Director, Wesley Enoch. Wesley announced a “lucky door” prize was the be announced after the production. Other than the co-conspirators, who knew that the prize would be an engagement ring?!

While Romeo & Juliet was more than timely for Tristan’s ‘proposal project’, he says he always knew that he would ask her hand in marriage at a QTC production. “Cynthia has been coming to QTC shows since she was 8 years old. Every Christmas she and her brother would get a 12 month QTC subscription as a present, and they would come to the shows together. Her brother has moved away so this was the perfect way of continuing the tradition, now it is with me,” he said.

Thomas Larkin (As you Like It, Hamlet) and Melanie Zanetti who won the Matilda Award for her performance as Eliza Doolittle in QTC’s Pygmalion last year are QTC’s Romeo and Juliet. They are said to have sizzled on stage in the early previews and look set to bring a whole new audience through our state theatre company’s doors.

Two households. A raging feud. Five days. One forbidden romance.

Directed by the celebrated Jennifer Flowers, Romeo & Juliet will bring the heat of Verona’s streets to Brisbane with a bespoke set, classical integrity and timeless currency.

“We have two exciting young actors, at the perfect stage in their careers to play the coveted title roles; what an opportune time to bring back this tale of love and tragedy,” says Artistic Director Wesley Enoch. 

“Our version of the ever popular classic, Romeo & Juliet, promises to hold true to the original script yet we instil modernity to make it relevant to today’s audience,” he said. “It’s a fiery production of the world’s greatest love story. It is a volatile collision of youth, mortality, sex, light, intensity, fate and time.”

Welcoming back Company favourites and with an all-Queensland ensemble the cast includes Ross Balbuziente, Simon Burvill-Holmes, Tim Dashwood, Norman Doyle, Steven Grives, Caroline Kennison, Andrea Moor, Veronica Neave, Nick Skubij and Steven Tandy, who was last seen in Noosa to direct the sell-out season of David Williamson’s Travelling North.

“It’s been almost 20 years since the Company has presented the tragic romance. “It surprises me how many young people have never seen or even know the story of Romeo & Juliet,” said Wesley. “It is one of the most beautiful and provocative stories for the next generation to see. I love that it is in my first season as Artistic Director at QTC.”

Thomas and Melanie have received notoriety recently over the images used to promote QTC’s forthcoming season. Interestingly, Veronica Neave faced similar furore over the production images when she performed the title role of Juliet for QTC in 1993 (for which she received a Matilda Award commendation). In both cases the images were designed to capture the “essence” of Romeo & Juliet’s story: young, breathless, forbidden love.

Romeo & Juliet 

21 April to 13 May

Playhouse, QPAC

Directod by Jennifer Flowers

Featuring: Ross Balbuziente, Simon Burvill, Tim Dashwood, Norman Doyle, Steven Grives, Caroline Kennison, Thomas Larkin

Andrea Moor, Veronica Neave, Nick Skubij, Steven Tandy, Melanie Zanetti

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.

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

 

out of the box: tickets on sale today

GET YOUR TICKETS NOW FOR

OUT OF THE BOX FESTIVAL FOR CHILDREN 

Teachers, Parents, Grandparents, and carers take note! Tickets for the not-to-be-missed arts event of the year for children, the 2012 Out of the Box Festival for Children have gone on sale today Monday 26 March.

This year’s Festival will run from 12-17 June and offers an especially curated program for children eight years and under.

Out of the Box 2012 features an exciting program of free and ticketed events, including theatre performances, an interactive workshop program, outdoor events for families, and a symposium fostering conversations enquiring into early childhood learning. This year for the first time, the festival will also offer two dedicated venues with performances and activities especially for parents with very young children.

The Festival will take place in and across the Cultural Centre at South Bank, Brisbane, from its hub at the Queensland Performing Arts Centre (QPAC) to the State Library of Queensland, Queensland Museum and the Queensland Art Gallery/Gallery of Modern Art. More than 50 000 children, parents and carers are expected to participate in the six days of Out of the Box 2012.

This landmark cultural event has been presented every two years since the inaugural Festival in 1992 and continues to be at the leading edge of early childhood arts and learning. This year Out of the Box celebrates 20 years of nurturing children’s creativity and imagination.

2012 is the National Year of Reading and as an official partner of this initiative, QPAC has developed the entire Festival program around the arts and cultural literacy. This year’s festival will bring four children’s books to life as part of the performance program.

The centrepiece of Out of the Box is a new work based on The Flying Orchestra, a children’s book written and illustrated by Queensland author Clare McFadden, which will be presented as a world premiere at this year’s Festival.

Another program highlight is Me and My Shadow, 2011 Helpmann award winner for Best Presentation for Children. In the form of a visual poem, this spellbinding work from Patch Theatre is about a young girl who discovers a way to befriend her shadow.

The Out of the Box workshop program incorporates drama, dance, digital storytelling, circus and media. Children will have a chance to weave dreams, create virtual stories, design new 3D worlds, cook up a storm and build monsters.

The Festival also includes outside activities and welcomes Erth Visual and Physical Inc’s Dinosaur Petting Zoo and Polyglot Theatre’s We Built This City – a public construction site that calls upon energy and ingenuity to transform thousands of cardboard boxes into a new world.

Tickets for Out of the Box are now on sale. For full program details and bookings visit www.outoftheboxfestival.com.au

 

QPAC’S OUT OF THE BOX FESTIVAL FOR CHILDREN

  Tuesday 12 – Sunday 17 June 2012

    QPAC and Cultural Centre, South Bank

     Performances: adults $25, children $20

            Workshops: children $15