Matilda Award Winners 2019

 

Matilda Award List of Winners 2019

Presented at Brisbane Powerhouse Theatre

Monday February 17 2020

 

CONGRATULATIONS TO ALL NOMINEES AND WINNERS OF MATILDA AWARDS

 

 

2020 Gold Award Winner: Shake & Stir

Shake & Stir is one of Australia’s leading contemporary theatre companies, formed in 2006, and creating bold and exciting mainstage and in-school productions that tour Australia and New Zealand. Shake & Stir has built a company that doesn’t just entertain existing audiences with their spectacular main house productions that display a consistent level of excellence, but the company also cultivates a new audience, creating the artists of tomorrow through their in-school programs.

 

 

BEST FEMALE ACTOR IN A LEADING ROLE: WINNER

Amy Ingram, Cinderella (QPAC and Myths Made Here)

Amy’s intricately detailed portrayal of Ashley in Cinderella was a highlight of the year, with her impeccable comedic timing and raw vulnerability she had us in the palm of her hand from the moment she walked on stage. We were laughing, crying and cringing with awkwardness as we followed her journey through the reimagining of Cinderella.  Ultimately, due to Amy’s skill and level of excellence as an actor, we were left with a lasting connection to the character and her world.  This achievement speaks volumes to the strength of Amy’s performance and the execution of a fresh, contemporary take on an iconic character.

SHORTLIST

Helen O’Leary, The Confabulator (Helen O’Leary)

Nelle Lee, Jane Eyre (Shake & Stir and QPAC)

Kate Wilson, The Revisionist (Refraction Theatre)

 

BEST FEMALE ACTOR IN A SUPPORTING ROLE: WINNER

Susie French, Girl’s Guide to World War (Musical Theatre Australia)

Susie’s down-to-earth, unpretentious characterisation was executed effortlessly, and captured the passion, dedication and sheer determination of a woman well ahead of her time. Embodying the individuality and inimitability of Dr. Lilian Cooper, Susie was able to entertain and educate while keeping us eating out of the palm of her hand.  From the moment we met this full-rounded character, it was clear we were in excellent hands as we watched Dr. Cooper’s story unfold.

SHORTLIST

Kathryn Marquet, Magpie (Playlab, Metro Arts and e.g.)

Kimberley Hodgson, Fangirls (Queensland Theatre, Brisbane Festival and Belvoir in association with ATYP)

Marika Marrosszeky, Savage in Limbo (Big Scary Animal)

 

BEST MALE ACTOR IN A LEADING ROLE: WINNER

Richard Lund, Kelly (Ad Astra)

In a highly competitive field, Richard’s performance of Ned Kelly gave us a fresh, multi-faceted and finely crafted portrayal of a character we all ‘know’. A high degree of excellence was evident in a performance that was a glorious mix of  danger and humour, strength and compassion with the underlying fierce loyalty of the Ned Kelly we all expect.  Richard executed the role with confidence, consistency and a high level of skill, as he sat naturally and comfortably in this character, hooking us into his unique world and keeping us hanging on his every word.

SHORTLIST

Thomas Larkin, Cinderella (QPAC and Myths Made Here)

Tama Matheson, When the World was Wide (Camerata and QPAC)

Bryan Probets, Hydra (Queensland Theatre and SA Theatre Company)

 

BEST MALE ACTOR IN A SUPPORTING ROLE: WINNER

Thomas Larkin, Death of a Salesman (Queensland Theatre)

Thomas Larkin’s touching performance of an iconic character, Biff, in Arthur Miller’s modern American classic, presents a unique challenge for an actor.  How to breathe life into such a well-known role?  Thomas addressed this issue head on and successfully delivered a deeply moving portrayal while speaking to contemporary issues of masculinity, expectations and fulfilment.  His physicality and vocal work were both excellent, executed with individuality and assurance.   As Biff’s fractured relationship with his father came into sharp relief, the craft and skill of the actor were utilised to full effect, expertly embedded in the character, delivering a performance that was compelling and deeply affecting.

SHORTLIST

Pacharo Mzembe, L’Appartement (Queensland Theatre)

Michael Mandalios, Magpie (Playlab, Metro Arts and e.g.)

Jackson McGovern, Death of a Salesman (Queensland Theatre)

 

 

BILLE BROWN AWARD – BEST EMERGING ARTIST: WINNER

Gina Tay Limpus, The Tempest and La Silhouette

A physical actor, director and theatre-maker, Gina is being recognised for her compelling talent and strong skill set, that transfer seamlessly to any context. Still in the early stages of her professional career, in her work in both The Tempest and La Silhouette, Gina displayed consistency and a high level of execution in her work, both vocally and physically.  We look forward to seeing more from Gina as her career develops.

SHORTLIST

Sui Ensemble, La Silhouette

Ella Macrokanis, Daddy Long Legs

Michael Mandalios, Magpie and The Revisionist

 

BEST DIRECTOR: WINNER

Daniel Evans, Cinderella (QPAC and Myths Made Here)

While the term auteur usually only relates to film, Daniel Evans’ individual style and sure hand ensures the term translates easily to theatre.  Daniel gives each of his productions his personal and unique stamp and in the instance of Cinderella, the direction is so distinct and individual that Daniel’s signature was evident from the opening moment.  This was tight, compelling storytelling, executed flawlessly and delivering a consistent level of excellence, eliciting beautifully nuanced performances from the actors.

SHORTLIST

Jason Klarwein, Death of a Salesman (Queensland Theatre)

Ross Balbuziente, Fantastic Mr Fox (Shake & Stir and QPAC)

Paige Rattray, Fangirls (Queensland Theatre, Brisbane Festival and Belvoir in association with ATYP)

 

BEST MAINSTAGE PRODUCTION: WINNER

Death of a Salesman (Queensland Theatre)

It is potentially challenging to bring something new to a play that is over seventy years old, but Queensland Theatre’s production of Death of a Salesman managed to bring the Arthur Miller classic into the present without changing what made it a classic in the first place. This production delighted both existing fans as well as educating a new generation about what earns this work a place at the top of the list of the great American plays.  As the death-rattle of American optimism echoed through the land of the free market, the audience followed Willy Loman as he lost himself in the halcyon days of the past, at the same time opening a window for the audience to reflect on America then and now. A withering commentary on capitalism, this production displayed excellence in every element, bringing an American classic very much into the contemporary conversation.

SHORTLIST

Fangirls (Queensland Theatre, Brisbane Festival and Belvoir in association with ATYP)

L’Appartement (Queensland Theatre)

Cinderella (QPAC and Myths Made Here)

 

BEST INDEPENDENT PRODUCTION: WINNER

La Silhouette (Sui Ensemble)

It’s not easy to choose the recipient for the category, given the vast number of independent shows viewed throughout the year. With La Silhouette, Sui Ensemble showed that they are not only an ambitious company, but also a company with an abundance of raw talent that enabled them to devise a work of immersive theatre that has a very high degree of difficulty accompanied by a high level of excellence in terms of execution.  Skilfully weaving together local queer histories that are both beautiful and sad, both true and imagined, La Silhouette is a unique and truly independent work that envelops its audience whole and refuses to pull any punches from euphoric start to climactic finish.

SHORTLIST

Kelly (Ad Astra)

Throttle (The Farm)

Girl’s Guide to World War (Musical Theatre Australia)

 

BEST MUSICAL OR CABARET: WINNER

Fangirls (Queensland Theatre, Brisbane Festival and Belvoir in association with ATYP)

Fangirls, a bold new musical, delivered a genuinely fresh, loud and proud female-centric production that brought the experiences of young women front and centre on our stages.  First love meets fan culture in this hilarious musical work that combines pop culture, touches of rave and the soul of choir, to cleverly explore the brave new world taking place right now through the online media experiences of young people. Acute, edgy, and very sharp direction and command of each element from Paige Rattray and her team made this production of Fangirls a highlight on stage this year, embraced by female and male audiences alike, and reminding us to never underestimate teenage girls.

SHORTLIST

Yank (Understudy Productions)

Daddy Long Legs (Passion Productions)

When the World Was Wide (Camerata and QPAC)

 

 

BEST CIRCUS OR PHYSICAL THEATRE WORK: WINNER

Inside Out (Tammy Zarb and Company)

A compelling new physical theatre work, presented as part of Bleach* Festival, Inside Out stood out in what was a highly competitive field.  In this large-scale, site-specific theatre work, Tammy work utilised an excellent ensemble of performers to lead audiences across the grandeur of the Abedian School of Architecture Building at Bond University, exploring what was conceptualised as a ‘cathedral of concrete.’ The ensemble explored the sloping pathways, mezzanines, curved stairwells and sloping sculptural frames, before leading the audience outside to its wooden forest.  This was a cinematic-like, yet highly theatrical experience that was enhanced by live vocalists, a beautiful soundscape and an intelligent and unique lighting design.

SHORTLIST

Tectonic (Dancenorth)

Throttle (The Farm)

You & I (Casus Circus)

 

THE LORD MAYOR’S AWARD FOR BEST NEW AUSTRALIAN WORK: WINNER

Girl’s Guide to World War, Katy Forde (Book and lyrics), Aleathea Monsour (Composer)

A new musical that explores the astonishing true story of a group of women who try to sign up for army service in World War One but are soundly rejected and told to, “Go home and sit still”. Thankfully, the women have other ideas.  Incorporating live music and a narrative that traverses the gamut of the human condition, this is a finely nuanced work  that follows a year that changes their lives forever.  Dealing with themes of inclusion, freedom, power and commitment, this work uses a combination of compelling storytelling and original musical composition to explore a story of contemporary relevance.

SHORTLIST

La Silhouette, Sui Ensemble

When The World Was Wide, Tama Matheson

Reagan Kelly, Lewis Treston

 

 

BEST SET DESIGN: WINNER

Josh McIntosh, Revolting Rhymes and Dirty Beasts (Shake & Stir and La Boite)

This tightly crafted, swiftly moving production needed a flexible, inventive and workable set to facilitate the rapid-fire storytelling. The result was a delightful design that not only met all practical requirements and levels of excellence but, in its seamless execution, also perfectly matched the production’s witty, sharp and clever style. Facilitating the surprising and hilarious twists of the production, the design brought to life Roald Dahl’s beloved stories, serving the text and tight ensemble of 4 actors, in equal measure.

SHORTLIST

Caroline Delore, When the World was Wide (Camerata and QPAC)

Josh McIntosh, Jane Eyre (Shake & Stir and QPAC)

Josh McIntosh, Fantastic Mr Fox (Shake & Stir and QPAC)

 

BEST COSTUME DESIGN: WINNER

Libby McDonnell, Orpheus and Eurydice (Opera Queensland and Circa)

In Orpheus and Eurydice, Libby McDonnell and the costume team at Opera Queensland created some of the most stunning costumes this year on Queensland’s stages. The bold, graphic styling combined with exquisite cutting created a striking aesthetic that would be very much at home on the best international stages and linger long in the audience’s memory after seeing the production. As Orpheus and Eurydice took their perilous journey home, we were treated to exquisite detail and variation in costuming that served both the singers and the circus performers alike, combining harmoniously to create an exceptional whole.

SHORTLIST

Leah Shelton, Bitch on Heat (Leah Shelton at Brisbane Festival)

Josh McIntosh, Fantastic Mr Fox (Shake & Stir and QPAC)

Anthony Spinaze, Death of a Salesman (Queensland Theatre)

 

BEST LIGHTING DESIGN: WINNER

Geoff Squires, Inside Out (Tammy Zarb and Company)

This unsuspecting design was executed sensitively in response to its site, transforming found spaces imaginatively whilst respecting the eccentricities of the architecture. Geoff made very effective use of simple tools and excellent design choices, appropriating existing lighting fixtures alongside theatrical interventions in order to sculpt the environment. In this promenade work, the bold use of lighting contributed indispensably to the sense of enchantment and discovery felt by the audience.

SHORTLIST

Tom Wright, Tectonic (Dancenorth at Bleach*)

Ben Hughes, L’Appartement (Queensland Theatre)

David Walters, Net of Souls (The Boxties and QPAC)

 

 

BEST VIDEO DESIGN: WINNER

Craig Wilkinson (video) and Jon Weber (illustrations), Fantastic Mr Fox (Shake & Stir and QPAC)

Video design excellence is positioned front and centre in this visually decadent production, using animation to drive the distinct theatrical style and staging. With this elaborately interactive design, Craig Wilkinson has cemented his reputation as a master of projector spectacle, demonstrating the magical theatricality of his illusory virtual worlds. Jon Weber’s illustrated environments here create the perfect play space for these larger-than-life characters to breathe, and for this much-loved classic to find its purpose on stage.

SHORTLIST

Justin Harrison, Fangirls (Queensland Theatre, Brisbane Festival and Belvoir in association with ATYP)

Freddy Komp, Tower of Babel (Baran Theatre at Metro Arts)

Nathan Sibthorpe and Jeremy Gordon, Statum (Flipside Circus and Counterpilot in partnership with Brisbane Powerhouse)

 

 

BEST SOUND DESIGN/COMPOSITION: WINNER

Luke Smiles (design) and Anna Whitaker (associate), Throttle (The Farm at Bleach*)

This design involved a very high degree of difficulty, bringing to life the sound environment for a B-grade Thriller, viewed from within the safety of your own car.  With a soundtrack heard through your car radio, this production excellently captured all the nuance, originality and detail of live-action drive-in theatre.  Sound effects and voiceover were incorporated impeccably, bringing to life what begins as one man’s love song to his Volvo but turns deadly as the zombies inflict mayhem and disorder, running riot through the outdoor site.

SHORTLIST

Guy Webster, Fantastic Mr Fox (Shake & Stir and QPAC)

Guy Webster, Inside Out (Tammy Zarb and Company)

Guy Webster, Revolting Rhymes and Dirty Beasts (La Boite and Shake & Stir)

 

 

BACKSTAGE AWARD: WINNER

Tanya Malouf

A fixture of the Queensland performing arts community, Tanya has demonstrated excellence in her long career as a stage manager, company manager, and project coordinator. While recognising her incredible body of work, Tanya was especially nominated for her tireless efforts in her role as Tour Producer with ArTour in 2019, demonstrating patience, persistence and professionalism in all she does behind the scenes to secure multi-location national tours for Queensland artists.

 

 

EMERGING FEMALE ARTS LEADER AWARD: WINNER

Emily Wells

Emily Wells is an impressive young woman who is stepping into a leadership space as a First Nations producer across disciplines.  Already contributing significantly to the sector and demonstrating  curiosity and enthusiasm to continue to learn and expand her skills and networks, Emily is ready to embrace the mentoring opportunities offered by the Emerging Female Arts Leader Award.

SHORTLIST

Kate Malone

Laura Hansford

Turbine

 

Turbine – the return

Collusion Music & Dance Ensemble

Queensland Academies Creative Industries (QACI) Theatre

Friday February 22 2019

 

Reviewed by Ruth Ridgway

 

 

Collusion’s show Turbine returned to Brisbane for one performance only, on Friday February 22 this year, after premiering in May 2018. Since then, a substantial excerpt has also been performed in September 2018 at the DANCESTAGES: Shanghai Dance Festival. The music for the performance in Shanghai was partly recorded, rather than performed live by violinists Benjamin Greaves and Camille Barry, and the composer Thomas Green.

 

At the Brisbane Powerhouse, Turbine was performed in traverse mode (the audience seated on two sides of the performers, and on the same level) in the intimate setting of the Turbine Studio. The latest performance at the QACI Theatre in Kelvin Grove was in a proscenium arch setting, with the audience at more of a remove from the action on stage.

 

While some of the raw immediacy of the physical action was lost, the show made a more powerful impression as a whole. With the stage that little bit further away, we in the audience could see all the performers at once, rather than shifting attention, say, between the music and the dancers. The musicians were more prominent visual presences as performers (particularly Thomas Green on electronics), complementing the power of their sound. (Note that I was sitting only a few rows from the front. My impressions may be different from those of people sitting much further back.)

 

The athleticism, commitment and expressiveness of dancers Gareth Belling, Michael Smith and Jacob Watton were as impressive as in the premiere – with an additional assurance and a sense of their performances and roles maturing since the first showing of Turbine in 2018.

 

Matilda Award Winners 2018

2018 MATILDA AWARDS

STILL Brisbane theatre’s night of nights. Perhaps Paul Bishop said it best: the importance of the Matilda Awards is that we come together not to celebrate brands, but to celebrate our stories as humans.

 

The new judges deemed the following stories and storytellers the winners. Congrats to all!

 

2018 GOLD MATILDA AWARD

Debase Productions
This special, open award recognises either a standout production or performance element in the year’s theatrical season or, in this instance, recognition of an individual company or group for their contribution to the industry as determined by the judging panel. DeBase are being recognised this year for their commitment to making theatre of excellence in Queensland for over 20 years, touring nationally and internationally, focusing on the use of comedy to address social issues in a way that is in tune with their target audience.

 

INAUGURAL EMERGING FEMALE LEADER AWARD

Christine Felmingham
Announced at the 2017 Matilda Awards Ceremony, this award is sponsored by the Brisbane Women Arts Leadership Group with a cash prize of $1000, provided by the sponsors of the award.  The Brisbane Women Arts Leadership Group will work with the recipient of the award to develop a 12 month program of mentoring and development that is specific to the recipient’s needs and goals. The Program could include one-on-one mentoring with an Arts Leader, networking opportunities through invitations to opening nights and other industry events and professional development.

 

The Lord Mayor’s Award for Best New Australian Work

Crunch Time – Counterpilot

Including works from all performance categories, this is a very competitive category and this year is awarded to an outstanding new work that pushes the boundaries of what contemporary theatre is or can be. A transmedia performance work, sitting in the world of immersive theatre, Crunch Time places its full trust in the hands of the audience, combining intricately complex interactive digital design, with a guest chef from a public position, to set the scene for a performative dinner party designed to model the processes of democracy while providing the audience with a uniquely immersive theatrical event

 

Best Video Design

Craig Wilkinson – A Christmas Carol

An original and captivating video design that incorporated new video forms, staging magical gestures that were both theatrical and cinematic to impeccably support the aesthetic of the production. Craig’s design enchanted audiences with its spectacle, but only ever to serve the wonder of the story being told.

 

 

Best Lighting Design

David Walters – Nearer the Gods

In a production that that deals with both human foibles and the mysteries of the star-studded universe, David Walters’s original design displayed exquisite lighting artistry, providing moments that transported us beyond the characters’ earthbound realities, giving the audience evocative glimpses of the cosmic enormities that grounded the story.

 

 

Best Sound Design/Composition

Babushka – Happily Ever After

Babushka, in collaboration with Luke Volker, created an impressive sound aesthetic that incorporated blind-siding arrangements of a combination of original composition and existing works, utilising exquisite vocal harmonies and live music to deliver a darkly seductive and wickedly theatrical score.

 

 

Best Costume Design

Penny Challen – The Owl and the Pussycat

From a Surfers Paradise beach as part of the Gold Coast Commonwealth Games Festival 2018 to a season at Flowstate and then on tour, the costume design for this work needed to be flexible and pack a visual punch. And that’s precisely what Penny Challen succeeded in doing. A visual feast, within an innovative contemporary context, the costume design provided seamless dramaturgical support for the work, with each costume displaying an impressive attention to detail and providing a vibrant and precise expression of the characters within their pea-green world.

 

 

Best Set Design

Josh McIntosh – A Christmas Carol

For inventive use of scale, theatrically realising a shifting cityscape that brought a vivid liveliness to this world. Josh’s modular design enabled a dynamic relationship between the characters and their environment, where the whole world seemed to open up and close in on its inhabitants as the story unfolded. This outstanding scenic design created a highly adaptive space that traversed numerous locations and technical requirements in a way that clearly evoked the environment of Ebenezer Scrooge’s world, while giving the artists a space within which to explore and create.

 

 

Best Director

Natano Fa’anana and Bridget Boyle – We Live Here

To the excellent directing team of Natano Fa’anana & Bridget Boyle, for their elegant and nuanced direction, and sensitive, funny, yet hard-hitting sharing of the story of the people of Hummingbird house. These directors worked collaboratively to create an incredibly strong visual narrative that seamlessly combined forms of circus and recorded narration to portray real stories. The result of their attention to detail was a compelling and unforgettable theatrical experience.

 

 

Best Female Actor in a Supporting Role

Andrea Moor – Hedda

Andrea Moor was barely recognizable in her standout portrayal of Aunt Julia Tesman, completely embodying the bogan matriarch, skilfully bringing both humour and heart in this layered and nuanced supporting performance. This outstanding work solidifies Andrea’s place as one of Queensland’s theatrical treasures.

 

 

Best Male Actor in a Supporting Role

Jackson McGovern – The Owl and the Pussycat

Jackson found gravity, balance, humanity and humour in an eclectic array of larger-than-life characters including a turkey, a pig, a bear and a moon. In a challenging breadth of roles, the skill of the performer shone through to create many memorable and standout moments that expertly supported the storytelling.

 

 

Best Female Actor in a Leading Role

Noni Hazlehurst – Mother

In a solo work written specifically for her, Noni gave an outstanding performance, giving voice to Christie, a lost, fallen and ultimately dispossessed woman existing on the fringes of society. Through her nuanced portrayal, we were able to connect with the humanity of this beautifully wrought character, and perhaps reflect on our own.

 

 

Best Male Actor in a Leading Role

Paul Bishop – Poison

For his compelling and unflinching portrayal of a father faced with life after the death of his son and the breakdown of his marriage, Paul Bishop brought the depth and breadth of his experience as one of Queensland’s most experienced actors to this work, presenting an intimately moving performance that captured the complexity of loss as both particular and universal. With Paul’s embodiment, the sticky details of this character’s backstory open up to accommodate our own grief and heartaches.

 

 

Bille Brown Award – Best Emerging Artist

Carly Skelton – The Hatpin

In the early stages of her professional career, Carly is being acknowledged for her portrayal of Harriet Piper, clearly meeting the professional requirements of the challenge. Carly displayed a solid skill base within a fully realised character journey replete with inventive choices and excellent comic timing that was skilfully coupled with vulnerability and empathy.

 

 

Best Circus or Physical Theatre Work

We Live Here – Flipside and Metro Arts

A unique collaboration of physical theatre, circus and recorded verbatim stories, this intricately nuanced production utilised a strong ensemble, excellent skills base, transformative design, stunning direction and detailed, touching performances to deliver an impossible-to-forget story about life in the face of death. For many, this work offered one of those divine experiences in the theatre – where an inexplicable moment in time and space lands with such emotional resonance that it transcends all language as a way of connecting us to each other.

 

 

Best Independent Production

The Sound of a Finished Kiss – Now Look Here and Electric Moon

In a strong year of independent work, The Sound of a Finished Kiss was considered the best overall independent production because of the unique nature of the musical work, the execution of the production, the degree of difficulty and uniqueness inherent in the original concept and the way in which all elements of the production came together to create an innovative theatrical experience of the indie musical reimagined for Queensland audiences.

 

Best Musical or Cabaret

The Sound of a Finished Kiss – Now Look Here and Electric Moon in partnership with Brisbane Powerhouse

The indie musical reimagined for Queensland audiences, this compelling story of love, loss, betrayal and share-housing was explored in an inventive work inspired by the songs of The Go-Betweens. Using four singers, a live band and eleven songs from this iconic Brisbane band, The Sound of a Finished Kiss proved to be a powerful coming-of-age story that cut across genres and generations.

 

 

Best Mainstage Production – TIE

Prize Fighter (La Boite & Brisbane Festival) and The Longest Minute (Jute, Debase and Queensland Theatre)

This award is shared between two exceptional productions this year. Prize Fighter is recognised for the further development that has refined it into a powerful theatrical work of excellence. The urgent heart of this production explores the compelling story of a Congolese refugee, haunted by his past as a child soldier, as he fights to build a future in Brisbane.

The Longest Minute is acknowledged as an excellent collaboration between Jute, Debase & Queensland Theatre, fully immersing a diverse audience in the world of sport & theatre. By capturing attention through a uniquely local premise, this play sneaks up on us to explore underlying social, cultural and gender themes within its compelling story.

All elements of both productions were consistently outstanding and worked harmoniously to deliver theatre of excellence.

 

 

 

 

Sweet Charity

 

Sweet Charity

Understudy Productions & Lizzie Moore

Brisbane Powerhouse Visy Theatre

January 25 – February 10 2019

 

Reviewed by Xanthe Coward

 

FUN     LAUGHS     GOOD TIMES

 

 

Singing without acting is just noise.

Sutton Foster

 

Social change is coming and things will never be the same again.

It makes literal the misogynistic idea that women’s bodies are rented, until they are “bought” by a husband.

It is a show that stands as relevant today as ever.

Kris Stewart and Maureen Bowra

 

You probably know a number of the famous songs from Sweet Charity, but you might not be as familiar with the show, which tells the tale of a perpetually lovestruck, politely regarded “dance hall hostess” in the swinging sixties, while NYC’s Madison Avenue bustles, hemlines rise, and eternal optimist, Charity Hope Valentine, sets about rebuilding a broken heart and readying herself for life outside…other people’s apartments. More than fifty years after opening, Sweet Charity retains its innocence, and as we find ourselves in the new Age of Aquarius, we also find that the torrent of emotions and frustrations expressed here by writers Cy Coleman (music), Neil Simon (book) and Dorothy Fields (how about those how-about-it-palsy lyrics), against the foibles of love and the attentions of the patriarchy are, unsurprisingly, apt. 

 

 

Sweet Charity’s director, Kris Stewart knows musicals. Like, in case you didn’t already know, he KNOWS musicals. And with Dan Venz not only performing but choreographing too, Shanon Whitelock not only on keys but musically directing too, Ben Murray making flawless sound happen like the miracle it quite often appears to be in a Brisbane venue, and Maureen Bowra by his side as Co-Director and Associate Choreographer, Stewart must have have thrown his head back to the sky and laughed at how perfectly this team came together.

 

And in the intimacy of the Visy Theatre, the performers are close enough to let us in on their every nuance, which means the hyper-reality of Charity’s theatrical storytelling is nicely balanced with the authenticity of the performances. This is a must-see production, beautifully realised, and these performances, I guarantee it, are already among the best this year. 

 

 

 

The company on stage is the strongest we’ve seen in Brisbane since Beautiful: The Carole King Musical, which boasted among its cast members Charity (Naomi Price) and Vittorio (Andy Cook). The ensemble is also superb and so strong that we can’t help walking away thinking that luckily for Price, she is THAT good! To be outstanding in such convincing company is testament indeed to the carefully studied voice and accent, the commitment to the pigeon toes and other awkward angles, and the natural flair for character and comedy that Price possesses. I think she’s the funniest I’ve ever seen her when hidden in Vittorio’s wardrobe to keep out of sight of his lover, Ursula (Lizzie Moore, also at her comic best!).

 

Price really is Sweet Charity, embodying every gorgeous, ridiculous tendency offered by the original girl on the page, without adding so much sweet, sticky, tacky taffy that we’re repelled by her and compelled to pry her from between our fingers and flick her away. Instead, we find ourselves giggling with her, dancing through these little bits of life with her, and eventually wanting to leap into the lake with her! Charity always reminds me of Milly Molly Mandy, only she too often depends upon boys to get her out of a scrape and she needn’t be home for tea.

 

Through all her misadventures, we find ourselves hopelessly, irresistibly, infuriatingly, firmly in Charity’s corner. Sigh. Yes. We all have a disastrously sweet Charity in our life.

 

 

This show is a big show, with a big mood, recognised famously in If My Friends Could See Me Now, which Price smashes out of Central Park, but even so, we recognise that the dear girl’s plight each time is just another human one, and in the grand scheme of things, hers is another tiny story in the world. Really. Consider. Charity is flawed, and fine, just like the rest of us. But without feeling anything for Charity, without hoping against hope that she will find the love of her life and somewhere better than where she’s let herself be, we wouldn’t actually care whether or not she finds true love, or friendship, or ever even escapes from her seedy workplace. This tiny story has suitably high stakes and loads of heart. This is of course, the secret to making seemingly light, fluffy musical theatre material speak to a contemporary audience the way it was intended to. Or better yet, more clearly than ever. For the telling of this heartfelt, heartwarming story, Price is perfect. 

 

 

Big Spender introduces the sassy chorus of girls with whom Charity works. This is essentially, before it was ever imagined, the title song and bar scene from Miss Saigon, and their Fosse-esque posturing and pouting go a long way in painting the picture of this place, where the open set fails to do so (Set Design Joseph Noonan). Or does it? Others think it’s ideal, but I feel it’s lacking in detail and a mood distinct from several other scenes (Lighting Designer Christine Felmingham). The number, staged diagonally, isn’t as effective as it could be in this space and the dance, as obviously Fosse as it is, lacks the sophistication of the style, and the nuance of the acting, with the temptation to push it into an an aggressive, self-righteous attack on all men everywhere proving too great to resist. The slow burn of the number, no matter how many times we’ve seen it, is still in our full realisation of exactly what the job entails and how au fait the girls are with it, but there’s little space held here for our growing horror. Perhaps we’re no longer horrified. Perhaps that’s the point. Let’s settle with saying that the majority appear to be a little too eager to be anything but eager (deliberately, delightedly, genuinely nonchalant is incredibly difficult to pull off, it tends to come across as bored), although there’s a startling energy that I fail to pinpoint; someone whom likely fully wields their feminine power off stage as well as on. There’s always one. What leaves a deeper mark for me than the execution of the dance itself is that there are moments when the girls as a collective are fierce enough to make us realise that they don’t want to be there, and feel they don’t have a way out, and vulnerable enough to make us realise that they don’t want to be there, and feel they don’t have a way out. And there’s the reminder. Dancing without acting is just movement. 

 

There’s also a slight anomaly in the tears shed by both Nickie and Helene, as we simply haven’t been given a chance to see the friendships develop enough to warrant said tears. Perhaps this is the point, and even these relationships have been that shallow. The ensemble features legit triple threats, Emily Corkeron, Shay Debney, Irena Lysluk, Sophie Stephens, Kate Yaxley (who steps into Charity’s chorus shoes just for January 31), Hayley Winch (Helene), Lizzie Moore (Nickie) and Rebecca Rolle, who simply shines, it having been said already that it’s quite a feat to stand out in this superb ensemble. The men are equally impressive, with dance detail and character traits well considered and delivered (Elliot Baker, Carlo Boumouglbay, Luke Hodgson and Venz).

 

 

To make up for the apparent lack of consideration for the set design, Noonan has successfully dressed (or semi-dressed!) the company in super cute sixties outfits, right down to the minis and boots. The ensemble’s Off-Broadway revival inspired all-white-everything and precision execution of the peculiar choreography during this extended sequence transforms Rich Man’s Frug into a beautiful aesthetic, somewhere between My Fair Lady, James Bond and Austin Powers. There’s Gotta Be Somewhere Better Than This is missing the same level of attention to detail though, and with its passion intact, with pace, precision and a genuine connection between the girlfriends, should be another showstopper by the end of the season.

 

 

Stephen Hirst, as the adorable, unbearable Oscar Linquist, brings a special kind of warmth and weirdness to the role. He and Price are well matched, and we shouldn’t be at all surprised if someone else takes advantage in the casting of anything upcoming to reflect this. I’m the Bravest Individual is clearly a crowd favourite, such as it is, sung in the most awkward situations.

 

 

Other than Price-as-Charity, the highlight of the show is The Rhythm of Life featuring Elliot Baker, Whitelock’s sensational new arrangement, and some Hair inspired staging, undressing and choreography. A band in this space has never sounded better, thanks to Ben Murray (the band comprises Whitelock on keys, with Daniel Robbins, Conall O’Neill, Michael Whitaker, Lisa Squires and Alanna Ritchie). I’m surprised when this toe-tapping (foot-stomping) full company number is not reprised, such is the audience’s obvious thrill on opening night, to experience a reinvigorated version of it. I ‘reckon if you can secure closing night tickets you’ll get a second look! For me this entire sequence sums up the approach we see Understudy Productions taking to stage anything, inspiring a fresh look at some of the more familiar (and less so) stories on stage, and to do so in a way that not only moves and delights audiences, but reignites our local industry. 

 

Sweet Charity is the feel good show of the year; there’s not a more enjoyable or inspirational night out to start your theatre year, and trust me, it will sell out! Book here. Wouldn’t you like to have fun, fun, fun?

 

 

BARE

 

BARE

Understudy Productions

Brisbane Powerhouse Visy Theatre

May 25 – June 3 2018

 

Reviewed by Xanthe Coward

 

 

BARE in Sydney in 2010 was the first time I’d experienced a professional looking and sounding high school production; it was a fast, shocking, moving show, which Kris Stewart included in that year’s Fringe Festival. It featured a well-trained and super talented young cast, including a couple of triple threats who went on to attend WAAPA. Understudy’s production has its moments, and it certainly doesn’t lack talent (when Oscar’s not playing, Alexander Woodward’s Understudy Productions always attracts the best that Brisbane has to offer), but it’s largely Shaun Kohlman’s show. As seen early in the piece, in Role of a Lifetime, as Peter, the co-ed Catholic schoolboy who falls in love with his best friend, Kohlman captures every nuance of a young gay man in love and in turmoil; he’s completely captivating. Playing opposite him as Jason, the popular athlete and charming leading man in the school’s production of Romeo and Juliet, Jason Bentley, with soapie good looks, strong presence, his genuine connection with both the male and female love interests in the story, and his part in the boys’ beautiful duet (Best Kept Secret) can be forgiven for the apparent anomaly of a singular over-the-top anguished moment. I’d prefer to see this underplayed, or managed slightly differently, perhaps giving us less time to question the authenticity and impulse behind his overwhelming emotion. It’s a choice, a Stella moment, and a tough one to sell. 

 

 

Other than a quick, very much appreciated nod to the social and political climate of New Farm, other additions or amendments to the book go unnoticed. It’s a pretty ordinary book. Despite its dated, flimsy feel, at the core of the show’s universal themes are the current local pangs of real-life wounds, still raw, and the knowledge that so many individuals in our communities fight even now for their right to be accepted by family, friends, colleagues, corporations and institutions, despite the big picture success of the yes vote.

 

Claire, and Ivy, played by ABC weather woman Jenny Woodward and Jordan Malone respectively, are considered by others to be perfectly cast. For me, Woodward’s most affecting work is during the heart-wrenching phone call with her son (See Me). Even so, she doesn’t quite go to the edge, and the first phone call at the end of Auditions gives no indication of her long-held maternal suspicion about her son’s sexual preferences, a missed opportunity. Malone’s Portrait of a Girl rings truer than All Grown Up, which is a little forced and nevertheless appears to leave other hearts aching, those hearts having assured me after the show that for them it was raw and emotional and real. Fair enough. We’re probably in agreement over Melissa Western being a pretty fierce and funny Sister Charlotte, delivering razor-sharp one-liners to bring the house down and at the same time, showing genuine sensitivity and concern for the wellbeing of her students. But the music is written for a voice that doesn’t need to flip into a lighter top soprano, and a misguided wardrobe decision makes a distraction of a pair of black pantyhose and a bodysuit in what would otherwise be a sensational Jesus Christ Superstar/Like A Prayer proper gospel number. While Western is the most accomplished performer on stage and delightful in this role, it’s hard to be a sassy and sophisticated Mother Mary in an 80s inspired blue sequinned bodysuit! (Design Raymond Milner). 

 

Sarah Whalen’s Nadia is sadly, beautifully vulnerable beneath her tough and entertaining exterior, and her singing is spot on. Jonathan Hickey (Matt) and Trent Owers (Lucas) also offer convincing performances with Owers’ rap and his unassuming part in the tragic end to the tale making his character a lighthouse for entrepreneurial kids everywhere.

 

The company largely comprises Queensland Conservatorium graduates and they bring with them their gorgeous contemporary vocal style, which boasts a more naturalistic tone and approach, in case you haven’t gotten out much lately and still expect to hear a big Broadway belt in a Brisbane show. (You can hear it in abundance when Patti LuPone comes to QPAC). It’s a refreshing pop-rock sound, brilliant for our performers, who need to be as versatile as possible in an increasingly competitive industry. In fact, the ensemble’s vocal work is stunning from beginning (Epiphany) to end (No Voice, a stirring, inspiring finish), with precision harmonies and a heartfelt message a joy to hear. 

 

 

Stunningly, simply lit by Daniel Anderson, the action takes place beneath abstract stained glass windows and a white cross, putting us firmly beneath these brightly coloured symbols of the ever-watchful eyes of God. Or is it a cruel joke, as God turns a blind eye? All the questions are asked and painfully, the old-school priest offers only Old Testament answers. James Shaw is rather wasted in this role after his impressive performance in RENT but then who else would do just enough here, just as beautifully?

 

Luke Volker (MD and keys) leads a tight band, hidden from sight but who make their presence felt, particularly with the inspired inclusion of cellist, Kate Robinson. Contemporary pop choreography by Madison Lee makes every company number a Britney Spears’ video, with the angst and frustrated aggression of a couple of these numbers, including Confession, suiting some performers better than others. Variations in tempo and dynamic make the rave scene’s Rolling multi-layered and more visually exciting than anticipated. Director, Sue Rider, manages with more aplomb and sensitivity than at other times, these tricky transitions between music video moments and the continuing drama. 

 

BARE is a polished and emotionally charged production, thanks to the high calibre of artists on stage and off, and it feels like the next stepping stone for this ambitious company. It was an ideal inclusion in this year’s MELT Festival program. The too-brief season concludes tonight with an extra performance due to solid bookings before the show had even opened. We are clearly craving more of this style of work, and happy to embrace the stories selected by savvy young indie producers as our own. I can’t wait to see what Woodward does with his Spring Awakening (we saw Oscar do it best in 2011). Book early for it because going by the general response, Understudy Productions continues to challenge and satisfy both artists and audiences. 

 

 

ONE HEART

ONE LOVE

ONE LOVE, ONE LIGHT

ONE LIGHT, ONE TRUTH

ONE TRUTH, ONE LIFE

ONE VOICE