Let’s Do the Time Warp Again! It’s the Return of the Rocky Horror Show!

Got plans yet for New Year’s Eve? Now you do!

 

You must know by now that Richard O’Brien’s The Rocky Horror Show is back! Fish out the fishnets and sharpen those stilettos for the rockiest ride of your life!

 

Producers Howard Panter and John Frost have announced that the 40th anniversary production of Richard O’Brien’s The Rocky Horror Show will open December 31, 2013, at QPAC’s Lyric Theatre, followed by seasons at the Crown Theatre, Perth in February, and the Festival Theatre, Adelaide in March.

 

 

This exciting new production is currently showing to sell out houses in the UK and will feature a sexy and very surprising all new Australian cast.

 

 

AUDITION DETAILS CAN BE FOUND ON THE WEBSITE

 

 

SYDNEY 27 – 29 JUNE 2013

 

MELBOURNE 1 – 3 JULY 2013

 

 

AUDITIONS ARE STRICTLY BY APPOINTMENT ONLY. TALK TO YOUR AGENT.

 

 

Who is your favourite Frank N Furter?

 

 

 

 

Driving Miss Daisy

 

Driving Miss Daisy

Gordon Frost Organisation

QPAC Playhouse

9^th February – 24^th February 2013

 

Reviewed by Xanthe Coward

 

I didn’t get the chance to meet James Earl Jones and Angela Lansbury – I’ve been teaching Drama full time for the last couple of weeks and missed a heap of extra-curricular stuff – but I wondered, if I had done, what would I have said? My sister in law got it in one, “Well, you’d ask them, how ARE you? Are you WELL?”

 

It’s no less than amazing to see 83-year old James Earl Jones in front of us, and 87-year old Angela Lansbury climb an imposing staircase several times during Driving Miss Daisy, which enjoyed its Australian premiere on Saturday night at QPAC’s Playhouse. You know I love an opening night and this one was extra special because we don’t often see the likes of Angela Lansbury and James Earl Jones on our stages. For that reason alone, you should book the last remaining tickets of the season. I will not even start on what John Frost has done for the theatre industry in Australia, it’s a long list of accomplishments; suffice to say, we are all a little bit in awe every time Frosty wins and at the same time, not in the least surprised.

 

Don’t think of the film. This production is gentler, quieter (and there are no continuity issues!); the play glides along at its own comfortable pace, the same pace James Earl Jones sets with his slow and steady steps. His characterisation is such that we don’t get much of THAT voice, instead we get the voice of the coloured man who drives for Miss Daisy and, over time, becomes her best friend. Without going to the exhaustive – and potentially damaging – effort of changing his vocal pitch, James Earl Jones becomes Hoke Coleburn. Because that’s what great actors do. They step out onto the stage (in this case, to a spontaneous round of applause), they play the role, fit the bill, embody the character. Sometimes it’s a surprise to audiences – to find that the actor plays a new role distinct from anything that’s come before – and the more great actors audiences see, the more accustomed they become to this phenomenon we call “acting”. I can’t stress enough how natural these performances are. Nothing is in earnest unless the situation calls for earnestness from the character. These are completely genuine, truthful performances. Of course we expect nothing less from this calibre of actors but even so, it’s a pleasant surprise to sit and receive the goods. A masterclass in subtlety, these performances are among the best you’ll see in a lifetime.

 

James Earl Jones and Boyd Gaines in DRIVING MISS DAISY. Image by Jeff Busby

 

Another multi award winner, Boyd Gaines, who played the same role, Miss Daisy’s son, Jewish businessman Boolie, opposite James Earl Jones and Vanessa Redgrave on Broadway, fits this production perfectly, his character offering the voice of reason and defeat in conversations with his mother. It is he who hires Hoke, insisting that his mother, Daisy, is no longer fit to drive. Gaines balances heightened emotion carefully with real, raw dismay, and the manipulation and acceptance of his mother.

 

Angela Lansbury and James Earl Jones in DRIVING MISS DAISY. Image by Jeff Busby.

 

Miss Daisy was born, she tells us, in 1876. That was eleven years after the end of the American Civil War and a year after a Civil Rights bill had been enacted in the United States Congress. Under this, everyone, regardless of colour, was guaranteed equal treatment in “public accommodations”, including theatres, restaurants, schools, transport and restrooms… Yet it was almost a century before the Civil Rights Movement with which most people are familiar really made a difference to people’s lives.

 

Alfred Uhry has cunningly illustrated that long journey by putting on stage two unforgettable characters from different sides of the race divide who are nevertheless, in some ways, alike. Both are sharp, opinionated, demanding respect, clinging to dignity but lacking control in their lives, Hoke because he is poor and black, Daisy because she is growing old.

Source: Program Notes

 

Angela Lansbury & James Earl Jones in DRIVING MISS DAISY. Image by Jeff Busby.

 

Daisy Werthan is the 90-year old that, at least in body, you hope you’ll be. Well, I hope I’ll be…without the prejudice. I don’t know about you, but I know very few 90-year olds. My grandfather is one and he’s in Toowoomba, bedridden. Angela Lansbury’s Daisy is the quintessential Jewish matriarch of the Deep South, and so spirited; full of the energy we desire in our later years. It’s only in her final moments that we see the stark contrast: a vulnerability and fragility that, finally, brings tears to my eyes. An extended standing ovation indicated that the emotional impact was widespread. And it’s not just because these actors are famous. It’s an exquisite, very special piece of theatre. We all know the effect of a good show is felt long after the curtain closes.

 

Director David Esbjornson, who made his Broadway debut with Driving Miss Daisy, ensures the political story pervades at every level, and digital elements are put to good effect, as we see images thrown across the back wall, of history in the making. Particularly disturbing is the white washed sign just outside the state of Georgia, warning the pair that they have crossed over into KKK country. A mottled paint job gives a grainy finish to projected photos and footage, like so many collective memories. A gentle golden light breaks up the shadows in the house, and delineates different areas used for phone calls and private conversations (Lighting Peter Kaczorowski). A cinematic underscore beautifully establishes mood and the passing of time (Music Mark Bennett).

 

The car device, which is set by the actors on a miniature revolve using a bench, a chair and a steering wheel on a stick, unexpectedly works a treat. The representation of the vehicle is the only abstract arrangement on stage and yet it’s completely acceptable. I heard behind me, “That’s clever!” and indeed it is; cleverness in its simplest, most economical, old-fashioned and dynamic theatrical form. A shifting staircase, and furniture pieces that glide on and off stage magically, provide a number of other interior settings and remind us that with a generous budget and a brilliant design team, simplicity can be achieved. The high-tech mechanicals certainly help but imagination and the suspension of disbelief are still key. The actors are the focus and the characters leave an indelible impression. The final moments are a superior gift.

 

Two old souls, just people; best friends until the end. And it’s at the end that we realise we’re the same, in spite of our pride, our age, our embedded prejudices…we’re all just people.

 

James Earl Jones in DRIVING MISS DAISY. Image by Jeff Busby.

South Pacific

 

South Pacific

Opera Australia and John Frost

QPAC Lyric Theatre

27^th December – 27^th January 2013

 

Reviewed by Xanthe Coward

 

This year marks the 60th Anniversary of South Pacific in Australia.

 

This is the iconic album cover image I grew up with.

This record (Google it, kids; vinyl record) became scratched beyond repair before it was discarded (if it was discarded at all. I have a sneaking suspicion that I saw it recently, stashed upstairs, amongst Mum and Dad’s fave records of all time!). I remember singing the songs for years, skipping and kicking around the lounge room, washing that man right outta’ my hair and sending him on his way!

First performed on Broadway in 1949, Rodgers & Hammerstein’s South Pacific made a bold statement in post-war America about tolerance and acceptance. Only four years on from World War II, South Pacific gave us inter-racial relationships, and what it takes to overcome our own prejudices.

 

Opera Australia and John Frost’s co-production, from the original Lincoln Center Theater production, directed by Bartlett Sher, is superb. The Brisbane cast is impressive and they have the privilege of working in Catherine Zuber’s authentic costumes (we get just a glimpse of several gorgeous evening gowns), within a simple, elegant set.

 

Whether or not you’re a fan of Rodgers & Hammerstein, there is a lot to love about this show. The first thing is Teddy Tahu Rhodes, who is sublime as the Frenchman, Emile De Becque. Honestly. What is there NOT to love about this guy? His heartfelt delivery of Some Enchanted Evening (What’s this? Another reprise? Alright!), and This Nearly Was Mine are heart-melting, heart-breaking perfection. Already well respected in the international opera world, South Pacific is Rhodes’ first musical and it’s won him a host of new, devoted (swooning) fans. I’m sure I was not the only one on opening night left quite breathless by Rhodes’ enigmatic performance.

 

 

Well-matched and perfectly cast as Ensign Nellie Forbush is multiple award-winner and golden girl of the stage and small screen, Lisa McCune. I know! Remember when we were all slightly suspicious of McCune? That transition from Australian TV Drama to the stage can be a killer. But remember back even further? That’s right. When she was just 15, McCune was Dorothy in The Wizard of Oz, in Wanneroo, Western Australia. Since then, McCune has gone from strength to strength and in this role she excels, coming full circle as a singer, despite a voice that is sweeter than you might expect to hear, traditionally, in this role. But you can’t fake Nellie Forbush. It’s all or nothing and McCune gives it her all. I love her naivety and her boldness, perfectly juxtaposed to reveal a woman who can clearly see that her ingrained prejudice will leave her unstuck in the end but not – at first – how she can change her perspective. Her prejudice and confusion come as a shock, both to her and to us, but we have to remember where we are…and where Nellie comes from. You’ve Got to be Carefully Taught…

 

 

In lesser productions of South Pacific, Lieutenant Joe Cable is so often the weak link but thanks to the incredible talent and sensitivity of stunning Tenor, Daniel Koek, combined with Sher’s insightful direction, he is so likeable, and it is a truly awful moment to hear of his demise. In fact, he reminds me of Miss Saigon’s Chris but he’s not such a sap. Sher’s multi-award-winning direction of this production has ensured we see full characterisations and rich, real relationships (though the rumours of a romance between McCune and Rhodes were quashed on Monday at the media launch, so perhaps not as real as we’d like to imagine, which only goes to show that the acting must be A1!). Suffice to say, there is no nuance missed, such is the attention to detail.

 

 

Gyton Grantley offers plenty of giggles as go-to Seabee, Luther Billis, and balances his comedic antics with tenderness towards Nellie that doesn’t go unnoticed. Christine Anu somehow manages to seduce more than repel, with her betel nut stained teeth and a haunting rendition of Bali Ha’i. Celina Yuen, as Liat, is fragile and beautiful, and the children are suitably spirited. On opening night they were Joy Ehue (Ngana) and Levi Ehue (Jerome). I’d love to get back before the season closes to see our own Louisa Finau; Sunshine Coast based and a newcomer to the professional stage. The ensemble is uniformly excellent; they look good and their sound is rich and full.

 

 

The inspiration for Rodgers and Hammerstein’s love story, James A Michener’s Pulitzer Prize-winning novel Tales of the South Pacific, is rich in detail and this design team brings both Michener’s prose and the legendary island, Bali Ha’I, out of the mist and into reality with a deceptively simple set comprising a painted backdrop, beautifully lit, narrowly avoiding looking like a set for The Bold and The Beautiful (Sets by Michael Yeargan & Lighting by Donald Holder). Once we accept that it’s not a moving, multi-media image, it becomes all the more real. The moment of acceptance creeps up on us; it’s similar to that point where, as an adult watching Peter Pan, we just HAVE to clap and chime in with, “I DO believe in fairies!” Timber plantation blinds help to set each scene, delineating different spaces for the islands, and the company street, the Commander’s Office and De Beque’s plantation home, and seamless transitions make it easy to suspend disbelief. The magic of this South Pacific is not only in the performances on stage, but also, in the unseen performances of the crew, and in the inspired direction of Sher, whose vision is exquisitely shared.

 

With Australian Musical Director, Andrew Greene, at the helm, the orchestra sounds superb – the overture swells just as it should, igniting our love of old-school live theatre and the Great American Musical of the mid-20^th century – and the well-loved songs tumble forth like a waterfall’s glistening gifts; still enticing audience members to sing along softly under their breath, 60 years on.

 

South Pacific is a rare pearl. A poignant, still relevant message and absolutely superb performances make this the perfect show for the start of a magical year of musical theatre.

 

 

 

An Afternoon With Stephen Sondheim or Diary Excerpt of a Fanatic

A very talented and very fanatical friend of ours took off to see Stephen Sondheim in Melbourne, while Mr Sondheim was here to see the hit production of A Funny Thing Happened on the Way to the Forum and answer a few questions in a forum of a different kind…

 

Contributed by Darren Heskes 

 

What started as “An Evening with Stephen Sondheim” for me became “two postponed evenings with Sondheim” (he had fallen in England whilst walking and talking, fracturing his  right wrist), 2 non refundable airline tickets, a hotel room that had been paid for (which resulted in me going to Melbourne just to use up the accommodation and second airline ticket), and a “hang the expense, I’ll take the family down South and pay extra to see Forum weekend. Like I had money to burn!

 

It wasn’t the latest Smash hit  musical or  Lady Gaga concert that  the obsessive ones sell their parents to see, so why do all this to see an 82-year old man being asked questions that I already knew the answers to?

 

BECAUSE HE’S STEPHEN SONDHEIM! 

 

Of all the people in this world Sondheim is the only one I would ever  make this kind of effort to see.

 

 

I could have bought a ticket to New York and camped outside his place for the same cost.

A career spanning over 55 years as the ultimate theatre songwriter: lyricist  for West Side Story and Gypsy leading to his eventual destiny providing music and lyrics to his  revolutionary and sometimes daring masterpieces Forum, Company, Follies, A Little Night Music, Sweeney Todd, Sunday in the Park with George (my number one musical of all time), Into the Woods, Assassins and Passion. He  has worked with  some of the biggest Broadway and West End  giants and I could spew forth wads of info your way but come on! You have a computer…Look him up. If you’re unfamiliar then it’s time to get acquainted as there will never be another Sondheim, just as there’ll never be another Shakespeare or da Vinci.

 

“In Person”. That concept seems ridiculous, something  that interests fanatics and stalkers. I was no different. I was even annoying the concierge at the hotel he was staying at. But I wasn’t alone and although he made it quite clear during the anticipated afternoon  that he could not write at present (the wrist damage is severe as he is right handed), the faithful stood waiting at the stage door with programmes, scores and paraphernalia to have him sign. I was no better. I took note of the non-signing but made sure I left a musical proposal for him to peruse with the stage door manager (like I’m the only one who’s ever done that). I know full well the cold truth of reality but that doesn’t mean I’m not checking my email every day, just in case.

 

Anyway… After a brief delay waiting for the greatest songwriter of the latter 20^th century, there he was… in person! Shorter than I imagined. Christopher Lawrence asked thoughtful and well researched questions that Mr. Sondheim was both surprised and pleased with. Excellent for the less dogmatic admirers, but for the ravenous devourers we wanted to have him all to ourselves. Musical excerpts were performed by various artists, and not having been a Packed to the Rafters follower all I can say is “OMG… that Hugh Sheridan can sing!” What a voice. The most perfect rendition of the title tune from the less successful opus Anyone Can Whistle. Even Stephen (well, I’d hoped we’d be on first name terms by now) was moved. To the point in fact that he scolded someone taking photographs during  the song.

 

Silvie Palidino’s Not a Day Goes By from Merrily We Roll Along was not only incredible to listen to it brought the Maestro to tears. Less convincing unfortunately, was Martin Crewes who did the Sunday in the Park excerpts. It just didn’t do it for me. Now if Hugh had sung it I would have been on my knees sobbing like an infant. Everything these days is cross-promotional and so this was in preparation for the 2013 Melbourne season of Sunday in the Park. Now if it was a Quast or Jackman in the lead (as they both had done so in the past), or even a Sheridan, I’d be booking passage immediately. Crewes, although capable, is no heavyweight. 

 

Geoffrey Rush joined Christopher and Stephen on the stage for 15 minutes of further cross promotion (Forum) and as entertaining, funny and talented as he was, I came for the awkward New Yorker. It did give an insight however into the methods and abilities of Mr Rush and why he is where he is today.

His attention to detail is second to none and for a self confessed non-singer he puts many  supposed singers to shame. 

 

Now back to Stephen…While we were lead chronologically through his career, with 2 interrupted hours there was no time to be stuck on 1959’s  Gypsy ( I mean, he was allowed to write lyrics only at this point at Ethel Merman’s request) and while Mr Lawrence attempted to steer proceedings further on, many in the audience had to let out a sigh to delay things another 5 minutes! COME ON PEOPLE! The highpoint of all musical theatre was his career from 1970-1994 and we still had another 11 years to go. TIME’S TICKING! Unions wouldn’t allow for a finish any later than 4.30 pm so MOVE IT! 

 

At interval I went off to do the usual: buy a drink, go to the toilet. Little did I know that those that remained milling in the auditorium were given a survey and then they selected 3 people to ask Mr Sondheim a question each…WHAT?! If I’d have known that I would have worn an adult nappy that day just in case. OH what wasted questions! It was like being given 3 wishes and wasting every one of them. The first question was by an older gentleman with the need for people to think he was witty, the second by a  young bassoonist who went and sat back in her seat mid answer (2 wishes down) and the third by a bumbling student not even aware of the full extent of Sondheim’s career. Folks…he went from strength to strength well after West Side Story and 55 years on he would like to forget some of his early career cringe-worthy lyrics. 

 

It’s a shame most people in this country are not as well versed on Sondheim as they should be. The more recent Burton film Sweeney Todd, which may have brought a younger generation a taste of Sondheim, is style over substance. Don’t ever see the film versions of A Little Night Music or Forum… They’re rubbish.  However you will never regret getting your hands on the filmed stage versions of Sunday in the Park with George and Company, the original cast recording of Sweeney Todd and the Sondheim biography by Meryle Secrest. Life-changing.  

 

So all in all was I satisfied… Not really.

But I would not have missed it for the world.

 

I mean… HE’S STEPHEN SONDHEIM! 

 

Sondheim says…

 

 

Stephen Sondheim is in town!

 

No, not in Brisvegas but in Melbourne for Frosty’s A Funny Thing Happened on the Way to the Forum, directed by Simon Phillips and starring Geoffrey Rush.

 

Of course you knew that.

 

But did you listen to the conversation he had on Radio National (Books and Arts Daily) with Michael Cathcart?

 

If you missed it, take the time to listen now and catch up on reviews from Crikey and The Age.

 

Is Forum your favourite Sondheim show?