Give a girl the right shoes, and she can conquer the world.
– Marilyn Monroe
Andrew Lloyd Webber’s London Palladium production of The Wizard of Oz hits the right glittering rainbow tone for its Australian premiere in Brisbane. L Frank Baum’s beloved story, enjoyed by generations since 1900, is brought back to life in a revel of colour and rich scenery. While it seems remiss to miss making more of the famous field of poppies and the flying monkeys, particularly with such talented aerialists amongst the cast, we’ll remain focused on the otherwise visually arresting aesthetic and enduring appeal of the show!
However, we’ll also just take a moment to note that some of Jon Driscoll’s digital design appears to be used in lieu of– or in front of – old-school scene changes during blackouts, which others love but by which I’m unconvinced. Without having the same effect as the original film’s black-&-white-to-Technicolor wow moment (remember when you thought the TV must be broken?), it lacks the edgy sophistication to put it at the same level as the rest of the design. The visual impact of both the Emerald City and the witch’s tower for example, reminiscent of Fritz Lang’s Metropolis, is more lasting. Perhaps, like a lot of things Lloyd Webber, it seemed like a good idea at the time and even just a few years later – this version of the show premiered in the West End in 2011 – the projections, including the pre-show scrim design – feel dated. Fortunately, none of these quibbles detract from the overall effect, which is supported by Hugh Vanstone’s cinematic lighting design.
Director and Co-Adapter Jeremy Sams has worked with Lloyd Webber and Tim Rice to bring the YES vote boldly to the stage, which in and of itself is nothing new, The Wizard of Oz (1939) having been claimed long ago as a gay fave film, and Judy Garland the global gay community’s kween. The updates are witty and funny and apt. When the Lion (John Xintavelonis) declares, “I’m proud to be a friend of Dorothy,” he earns heartfelt applause from Brisbane’s loud and proud opening night audience. For some reason the Lion has become that camp character, and Xintavelonis gets the balance just right, without us feeling we’re being beaten over the head with a blunt object.
He’s an adorable, loveable Lion and with Alex Rathberger as the tap-dancing Tinman, and Eli Cooper as the vague, scrappy, very funny Scarecrow, these three make the iconic characters their own. The very definition of ensemble, they generously support Samantha Dodemaide in her breakout role. (Yes, you might argue that her breakout role was Kathy Seldon in Singing’ in the Rain but I’d maintain that more people will see and retain a lasting memory of her beautifully realised Dorothy).
Dodemaide is sweet enough and strong enough vocally to make this iconic role her own; she represents all the misunderstood little girls who run away from home and grow up into their big, full, open hearts along the way to their Emerald City. Somewhere Over the Rainbow is sincerely, superbly delivered to us in the most beautifully measured mix, to us and to Toto (this coveted role shared by the most well behaved and affectionate Australian Terriors we’ve ever seen, Trouble and Flick, trained by Luke Hura).
To sell a song that’s been over-sung for decades is a tough gig and Dodemaide, with perfect optimism, nails it.
The indomitable Jemma Rix reprises the green skin and ghastly cackle of Wicked’s Elphie, but this Wicked Witch is the original, and she’s comic book kind of nasty rather than really vulnerable and vengeful, her unforgettable lines delivered with fresh, fun, mischievous energy, and without a spit of sarcasm. In anyone else’s hands this could be the less meatier role and while it’s lacking depth on the page, Rix gives the Witch multiple dimensions and emotions, making her a proper James Bond movie worthy megalomaniac. Her black feathered gown is the fantastic creation of Scenic and Costume Designer, Robert Jones, reminiscent of Maleficent’s high fashion look, and with her conical high hairdo rather than the black peaked witches’ hat of old, this is a savvy and stylish design choice.
And is there a better fit in all the world for a good witch other than our beloved Lucy Durack? She’s as Glinda as Glinda gets, and again, reminiscent of the role in Wicked, Durack is just as sweet, but without being saccharine, and gentler and kinder from the outset. This role too contains less depth on the page and as testament to the skill sets of both these leading ladies, the characters are made just as relatable as their contemporary counterparts.
Also, Durack’s spectacular sparkling gown allows her to enter from above, in full flight, descending like some glorious faery queen, and then the length of skirt, part of the scenery only seconds before, is whipped away to allow her to step into Munchinland. It’s a dazzling effect, but then Durack’s appearance always is.
Anthony Warlow is in top form as both Professor Marvel and The Wizard, bringing us an original wizened man of many tricks, with a genuine attitude of concern and care for Dorothy’s wellbeing (and, eventually, for her friends). Warlow emanates a warmth that makes both Marvel and The Wizard absolutely loveable.
The company includes the Sunshine Coast’s Rachael Ward, which is not the only reason she gets a special mention (although we’ll continue to claim her!), but also because our eyes are drawn to her every time she appears on stage. This is an exceptional ensemble – every performer looking and sounding sharp – so it’s no easy task to be a standout amongst them and yet, the statuesque Ward shines.
John Frost continues to bring the biggest and best looking musical productions to our venues, and I’ll be genuinely surprised if there’s anyone who is left unmoved by The Wizard of Oz this time around, with its updates and upscaled set (obviously, such a sap is in need of a heart). It’s retained a sense of nostalgia and allowed a whole new generation to see the land beyond the rainbow, and the love that – we have to hope – surrounds them at home.
Both on and back stage the Australian musical theatre community is quite simply second to none…
Ben Elton
We Will Rock You isn’t just a title, it’s a promise.
The time is the future, in a place that was once called Earth. Globalisation is complete.
We Will Rock You has strong Australian roots. Some of the book was written in Fremantle and some of the enduring memories of the show for many in this country at least, are the characters created by Amanda Harrison (Oz) and Michael Falzon (Galileo) in the original Australian production. Prior to its first season here though, the show ran for 12 years in London and continues, somewhat inexplicably, to tour internationally. To the consternation of many critics, audiences love Ben Elton’s Queen musical!
The global obsession with this show can’t be attributed to its wafer thin book or its sparse set, which – for this tour at least – comprises Grease style bleachers, and a massive screen beneath a rock concert lighting rig. The lighting at least is impressive.
The stars of this show are few but they are big, bold technicolor characters; larger than life and unforgettable. I love Erin Clare (Scaramouche) and Jaz Flowers (Oz) – we saw them both in Heathers – and MD David Skelton’s musicians: a 12-piece hard-core rock band that hangs out on the mezzanine and successfully bring Queen’s songs to life. Strangely, Don’t Stop Me Now is omitted…can anyone explain that?
Jaz Flowers, with her powerhouse vocals and fierce energy effortlessly steals the show. When Flowers is on stage I can’t take my eyes off her. She is well matched in energy by Thern Reynolds, as the amusingly misnamed Britney Spears.
As the sassy Scaramouche Erin Clare shines. Is she not the most exciting next big thing?She’s gorgeous in this gutsy role and doesn’t shy away from the character’s rebellious nature; in fact, she relishes it. She even brings some sweetness and light to Somebody to Love and You’re My Best Friend (added to this reincarnation of the show) without losing the full extent of her vocal power or a tough chick exterior. Gareth Keegan appears to put a slightly gentler spin than expected on Galileo, The Dreamer, but it works well enough and together the pair creates some super cute romantic moments, whilst maintaining the sense of rebellion the show demands. It’s this real rockstar energy that drives the show and to their credit, it never feels as if the company is trying too hard.
It’s a strong ensemble, young and cute; they’re our rising stars, but they don’t get much to work with here. They must wonder what-the-what they’re doing from time to time, surrounding Killer Queen (a killer thriller Casey Donovan) with Simply Irresistible attitudes and hot pink feather dusters in hand and who knows where else, but at least they’re committed.
Brian Mannix has little to do in Act 1 but comes into his own after Interval with some of the show’s best one-liners. Perfectly cast, he has as much fun as we do. And that’s key to the success of this show. We Will Rock You is about disregarding everything manipulative and oppressive in our world, and finding the fun and irreverence in every moment. It’s a little reminder to keep our hold over technology, our independence from industry, religion and state, and hearts pumping with our favourite ancient smash hit rock song lyrics.
Featuring some of the best real rock music of all time, with its mass appeal spanning multiple generations, We Will Rock You is a bold, proud crowd pleaser.
ANYTHING GOES has captivated millions with its delightful story of madcap antics aboard the S.S. American. When the ocean liner sets sail from New York to London, etiquette and convention get tossed out the portholes as two unlikely couples set off to find true love… proving that sometimes destiny needs a little help from a crew of singing sailors, an exotic disguise and some good old-fashioned blackmail.
With three Helpmann Awards announced the previous night, opening night of Anything Goes in Brisbane was always going to be an exciting affair. I wore sparkles, creating a major dress dilemma for the week because LA BOITE’S BIRTHDAY BASH! That’s right. Two of the shiniest occasions in Queensland’s theatrical calendar occur in one week and I’ve already been seen in my (more-twenties-than-thirties, let’s face it) sparkles. I’m not above being seen in the same frock twice but…
It’s times like these I have to ask myself
WHAT WOULD OUR CATE DO?
HOLLYWOOD, CA – MARCH 02: Actress Cate Blanchett arrives at the 86th Annual Academy Awards at Hollywood & Highland Center on March 2, 2014 in Hollywood, California. (Photo by Gregg DeGuire/WireImage)
Well, there’s no Armani here yet, but it’s okay, don’t panic, I have more white in the wardrobe now, thanks to a fortune fortnight spent on Hastings Street during Noosa Long Weekend Festival and the smiling, sophisticated ladies at KOOKAI. Admittedly, all they had to do was to bag a couple of cute frocks, which I’d spotted on the rack and decided to purchase without even trying on (because KOOKAI), but still; they are lovely there. Go visit them if ever you find yourself in similar strife.
This dazzling production of Cole Porter’s classic musical comedy is indeed almost too de-lightful, too de-licious and too, too de-lovely for words. It’s not my favourite clever, convoluted, old-fashioned, funny because it’s so unlikely excuse for a plot – misadventure and mistaken identities on the high seas with enough theatrical evangelical shenanigans to create another show entirely – but the music is timeless and the comedy is pitched at a broad audience of loyal Porter fans and musical theatre newbies. Everyone will enjoy this one.
Musical theatre queen, Caroline O’Connor, is superb as Reno Sweeney, as we knew she would be. In this demanding role, O’Connor earned the Helpmann Award for Best Female Actor in a Leading Role in a Musical. She barely pauses for breath – unless there’s a laugh to be had (and there are plenty, with her knack for physical comedy most obvious in Friendship with Wayne Scott Kermond) – and with her suitably Ethel Merman styled powerhouse vocals, polished dance and comedic finesse, O’Connor steals the show. But only just because this is the strongest company we’ve seen in Frosty’s trilogy with Opera Australia.
Reno’s girls are standouts – hot, glam goddesses who get to strut and shimmy their stuff in a red-lit and racy Blow, Gabriel, Blow (Annie Aitkin, Bridgette Hancock, Hayley Martin & Samantha Leigh Dodemaide).
And the ensemble are all gorgeous, great, true triple-threats, with an abundance of very young-looking sailors on board… didn’t Fleet Street happen already?! The title number, reprised for the Finale, is the highlight of the show – precision tap at its best to leave you, unlike the company of #fitspo performers, gasping for breath! Helpmann Award winning choreography by Andrew Hallsworth is simply spectacular, brilliantly executed.
Todd McKenney, perfect in the role of English fop, Lord Evelyn Oakleigh, reminds me of Eric Idle in The English National Opera’s The Mikado (1997), which was watched and re-watched for years in our house, thanks to the miracle of VHS. We see this sort of silliness in a role attempted so often but it’s very rarely achieved. Todd McKenney nails it. And of course, he can dance! Act Two’s The Gypsy In Me showcases McKenney’s triple-threat skill set and has us in stitches. (N.B. McKenney doesn’t do the Sunday show). Wouldn’t you just love to sign up for a Todd’s Tour with Evelyn?!
Alex Rathgeber’s Billy Crocker won him the Helpmann Award for Best Male Actor in a Supporting Role in a Musical. A legit leading man, Rathgeber brings warmth, charm and natural comedy to Crocker, making the character seem more present than ever in the ludicrous plot, and giving Hope Harcourt (Claire Lyon) much to consider in her will-I-or-won’t-I-marry-him throes. In Act One, You’re The Top (with O’Connor) and Easy To Love (with Lyon) carry old-world, swoon-worthy charm. Lyon is lovely, elegant and perfectly matched.
Wayne Scott Kermond and Deborah Krizak – Moonface Martin and the sexy, haughty Erma – bring hilarity to new heights; Krizak’s mercury-like moves in the constrictive cabin space and her Madonna attitude in Buddie Beware make her my new fave what-else-have-ya-got-for-us female. (She has in fact, got CABBARET, an ABBA biopic).
MD/Conductor, Peter Casey, leads a slick outfit – there are no disappointing horns here – and Dale Ferguson’s simple set adaptation (lit by Matt Scott) and sublime costumes (to make up for the simple set?) complete the look and feel of what is really a magnificent production, astutely directed by Dean Bryant.
Credited with the New Book Co-Author credit is Timothy Crouse, son of one of the original authors, Russell Crouse, but it seems there hasn’t been much of a re-write, which is a shame because contemporary audiences are looking for more than a name change for the Chinese. Aren’t we? Bryant’s production for Opera Australia and John Frost is glamorous, gorgeous and hilarious, and it won’t make a difference to box office sales to find fault with a slightly outdated book, but it’s worth noting that once this one is done there might be more to consider than star vehicles boasting terrific song and dance numbers that gloss over obvious racist undercurrents, which so many of the older, much-loved shows perpetuate within their stories. Of course, each reflects the popular themes and attitudes of its time. But does that deem them untouchable? South Pacific somehow seemed more relevant and The King and Inot so much. The London Palladium Production of The Sound of Music certainly seems a stronger choice (and you can book for that now. Amy Lehpamer is going to be amazing).
Anything Goes is a lavish production with a stellar cast. It would be a crime to miss Caroline O’Connor in this iconic role, in a riotous show that doesn’t claim to be anything it’s not. It’s pure entertainment and it’s honestly the most fun you’ll have at the theatre before you have your mind blown at Brisbane Festival.
If awards equate to success for you, the Helpmann’s are the top of the heap.
Because I’m vaguely on strike for a bit while David Williamson’s Dream Home has my attention, I’ll share the nominations as per suzygoessee because now that Augusta Supple is busy with other projects and I (still) need to know what’s happening in Sydney, I sometimes glance at what Suzy Wrong is seeing, and you know I like to share the blog love. Check her out!
BEST DIRECTION OF A PLAY
ANDREW UPTON
Endgame (Sydney Theatre Company)
CLARE WATSON
What Rhymes with Cars and Girls (Melbourne Theatre Company)
KIP WILLIAMS
Suddenly Last Summer (Sydney Theatre Company)
SARAH GOODES
Switzerland (Sydney Theatre Company)
BEST FEMALE ACTOR IN A SUPPORTING ROLE IN A PLAY
HELEN THOMSON
After Dinner (Sydney Theatre Company)
JULIE FORSYTH
Endgame (Melbourne Theatre Company)
PAMELA RABE
Beckett Triptych – Footfalls (State Theatre Company of South Australia)
SARAH PEIRSE
Endgame (Sydney Theatre Company)
BEST FEMALE ACTOR IN A PLAY
JULIE FORSYTH
Night on Bald Mountain (Malthouse Theatre)
PAMELA RABE
The Glass Menagerie (Belvoir)
ROBYN NEVIN
Suddenly Last Summer (Sydney Theatre Company)
SARAH PEIRSE
Switzerland (Sydney Theatre Company)
BEST MALE ACTOR IN A SUPPORTING ROLE IN A PLAY
BRUCE SPENCE
Endgame (Sydney Theatre Company)
GLENN HAZELDINE
After Dinner (Sydney Theatre Company)
JOHN BELL
As You Like It (Bell Shakespeare)
LASARUS RATUERE
Kill the Messenger (Belvoir)
BEST MALE ACTOR IN A PLAY
HUGO WEAVING
Endgame (Sydney Theatre Company)
HUNTER PAGE-LOCHARD
Brothers Wreck (Belvoir)
PETER CARROLL
Oedipus Rex (Belvoir)
STEVE RODGERS
Eight Gigabytes of Hardcore Porn (Griffin Theatre Company and Perth Theatre Company)
BEST PLAY
CALPURNIA DESCENDING
Malthouse Theatre and Sydney Theatre Company
ENDGAME
Sydney Theatre Company
THE GLASS MENAGERIE
Belvoir
SUDDENLY LAST SUMMER
Sydney Theatre Company
BEST CHOREOGRAPHY IN A MUSICAL
ANDREW HALLSWORTH
Anything Goes (Opera Australia and John Frost)
KATE CHAMPION and MICHELLE LYNCH
Dirty Dancing – The Classic Love Story on Stage (John Frost)
MICHAEL ASHCROFT and GEOFFREY GARRATT
Les Misérables (Cameron Mackintosh Australia)
STEVEN HOGGETT
Once (John Frost, Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo)
BEST DIRECTION OF A MUSICAL
DEAN BRYANT
Anything Goes (Opera Australia and John Frost)
JOHN TIFFANY
Once (John Frost, Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo)
LAURENCE CONNOR and JAMES POWELL
Les Misérables (Cameron Mackintosh Australia)
STUART MAUNDER AM
Into the Woods (Victorian Opera)
BEST FEMALE ACTOR IN A SUPPORTING ROLE IN A MUSICAL
AMY LEHPAMER
Once (John Frost, Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo)
CLAIRE LYON
Anything Goes (Opera Australia and John Frost)
KERRIE ANNE GREENLAND
Les Misérables (Cameron Mackintosh Australia)
LUCY MAUNDER
Into the Woods (Victorian Opera)
BEST FEMALE ACTOR IN A MUSICAL
CAROLINE O’CONNOR
Anything Goes (Opera Australia and John Frost)
HELEN DALLIMORE
Blood Brothers (Enda Markey Presents)
MADELEINE JONES
Once (John Frost, Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo)
PATRICE TIPOKI
Les Misérables (Cameron Mackintosh Australia)
BEST MALE ACTOR IN A SUPPORTING ROLE IN A MUSICAL
ALEX RATHGEBER
Anything Goes (Opera Australia and John Frost)
BRENT HALL
Once (John Frost, Barbara Broccoli, John N. Hart Jr, Patrick Milling Smith, Frederick Zollo)
CHRIS DURLING
Les Misérables (Cameron Mackintosh Australia)
COLIN DEAN
Once (John Frost, Barbara Broccoli, John N. Hart Jr, Patrick Milling Smith, Frederick Zollo)
EDDIE MULIAUMASEALI’I
Show Boat (The Production Company)
TREVOR ASHLEY
Les Misérables (Cameron Mackintosh Australia)
BEST MALE ACTOR IN A MUSICAL
HAYDEN TEE
Les Misérables (Cameron Mackintosh Australia)
SIMON GLEESON
Les Misérables (Cameron Mackintosh Australia)
TODD MCKENNEY
Anything Goes (Opera Australia and John Frost)
TODD MCKENNEY
La Cage Aux Folles (The Production Company)
BEST MUSICAL
ANYTHING GOES
Opera Australia and John Frost
DIRTY DANCING – THE CLASSIC LOVE STORY ON STAGE
John Frost, Karl Sydow, Martin McCullum and Joyce Entertainment
LES MISÉRABLES
Cameron Mackintosh
ONCE
John Frost, Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo
BEST COSTUME DESIGN
ANNA CORDINGLEY
Masquerade (Griffin Theatre Company and State Theatre Company of South Australia)
DALE FERGUSON
Anything Goes (Opera Australia and John Frost)
GABRIELA TYLESOVA
The Rabbits (Opera Australia and Barking Gecko Theatre Company)
GARY MCCANN
Faramondo (Brisbane Baroque in association with QPAC)
BEST LIGHTING DESIGN
GEOFF COBHAM
The Philip Glass Trilogy (State Opera Company, South Australia)
NICK SCHLIEPER
Macbeth (Sydney Theatre Company)
PAULE CONSTABLE
Faust (Opera Australia)
PAULE CONSTABLE
Les Misérables (Cameron Mackintosh Australia)
RACHEL BURKE
Marlin (Arena Theatre Company and Melbourne Theatre Company)
BEST ORIGINAL SCORE
CAMERON GOODALL and QUENTIN GRANT
Little Bird (State Theatre Company of South Australia)
KATE MILLER-HEIDKE with IAIN GRANDAGE
The Rabbits (Opera Australia)
MIKELANGELO and THE BLACKSEA GENTLEMEN
Masquerade (Griffin Theatre Company and State Theatre Company of South Australia)
TIM ROGERS
What Rhymes with Cars and Girls (Melbourne Theatre Company)
BEST MUSIC DIRECTION
ERIN HELYARD
Faramondo (Brisbane Baroque)
MARTIN LOWE
Once (John Frost, Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo)
TIM ROGERS
What Rhymes with Cars and Girls (Melbourne Theatre Company)
TIMOTHY SEXTON
The Philip Glass Trilogy (State Opera South Australia)
BEST SCENIC DESIGN
DAN POTRA
The Perfect American (Brisbane Festival and Opera Queensland)
GEOFF COBHAM
Little Bird (State Theatre Company of South Australia)
MARG HORWELL
Marlin (Arena Theatre Company and Melbourne Theatre Company)
MATT KINLEY
Les Misérables (Cameron Mackintosh Australia)
BEST SOUND DESIGN
CLIVE GOODWIN
Once (John Frost, Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo)
JD BRILL, CLAIR GLOBAL and EAGLES
Eagles | History of the Eagles Live In Concert 2015 (The Eagles and Frontier Touring)
MICHAEL WATERS
Anything Goes (Opera Australia and John Frost)
MICK POTTER
Les Misérables (Cameron Mackintosh Australia)
BEST NEW AUSTRALIAN WORK
AIDAN FENNESSY, MUSIC AND LYRICS BY TIM ROGERS
What Rhymes with Cars and Girls (Melbourne Theatre Company)
ARENA THEATRE COMPANY
Marlin (Arena Theatre Company and Melbourne Theatre Company)
JOANNA MURRAY-SMITH
Switzerland (Sydney Theatre Company)
NICKI BLOOM with songs and music by CAMERON GOODALL and QUENTIN GRANT
Little Bird (State Theatre Company of South Australia)
OPERA AUSTRALIA and BARKING GECKO THEATRE COMPANY
The Rabbits (Opera Australia and Barking Gecko Theatre Company)
TAMARA SAULWICK
Endings (Sydney Festival and Insite Arts)
BEST AUSTRALIAN CONTEMPORARY CONCERT
CHET FAKER | NATIONAL TOUR 2015
JIMMY BARNES | 30:30 HINDSIGHT GREATEST HITS TOUR 2014
KYLIE | KISS ME ONCE TOUR 2015
TINA ARENA RESET TOUR
BEST CONTEMPORARY MUSIC FESTIVAL
BLUESFEST BYRON BAY
LANEWAY FESTIVAL
VIVID LIVE 2015
WOMADELAIDE 2015
BEST CONTEMPORARY INTERNATIONAL CONCERT
ED SHEERAN | X WORLD TOUR 2015
FOO FIGHTERS | SONIC HIGHWAYS WORLD TOUR 2015
PAUL SIMON and STING – ON STAGE TOGETHER
THE ROLLING STONES | 14 ON FIRE
BEST COMEDY PERFORMER
JUDITH LUCY
Judith Lucy – Ask No Questions of the Moth (Token Events)
MATT OKINE
The Other Guy (Century Entertainment)
NAZEEM HUSSAIN
Nazeem Hussain – Legally Brown (Live Nation)
RONNY CHIENG
You Don’t Know What You’re Talking About (Century Entertainment)
SAM SIMMONS
Sam Simmons – Spaghetti for Breakfast (Token Events)
BEST CABARET PERFORMER
BECCY COLE and LIBBY DONOVAN
The Cowgirl and the Showgirl (Adelaide Festival Centre Trust)
CAMILLE O’SULLIVAN
Camille O’Sullivan – Changeling (Arts Centre Melbourne)
DAVID CAMPBELL and JOHN BUCCHINO
David Campbell Sings John Bucchino (Luckiest Productions)
KIM SMITH
Nova Noir (Adelaide Festival Centre Trust)
BEST BALLET OR DANCE WORK
FRAME OF MIND
Sydney Dance Company
MEETING
Antony Hamilton and Alisdair Macindoe
MOTION PICTURE
Lucy Guerin Inc
PRECIPICE
Rachel Arianne Ogle
BEST CHOREOGRAPHY IN A DANCE OR PHYSICAL THEATRE PRODUCTION
ANTONY HAMILTON
MEETING (Antony Hamilton Projects, Arts House and Insite Arts)
NATALIE WEIR
Natalie Weir’s The Red Shoes (Expressions Dance Company and Queensland Performing Arts Centre)
RAFAEL BONACHELA
Frame of Mind (Sydney Dance Company)
STEPHEN PAGE
Patyegarang (Bangarra Dance Theatre)
BEST FEMALE DANCER IN A DANCE OR PHYSICAL THEATRE PRODUCTION
CHLOE LEONG
William Forsythe’s Quintett (Sydney Dance Company)
ELISE MAY
Natalie Weir’s The Red Shoes (Expressions Dance Company and Queensland Performing Arts Centre)
JESSE SCALES
William Forsythe’s Quintett (Sydney Dance Company)
MADELEINE EASTOE
Giselle (The Australian Ballet)
BEST MALE DANCER IN A DANCE OR PHYSICAL THEATRE PRODUCTION
ALISDAIR MACINDOE
Motion Picture (Lucy Guerin Inc)
CASS MORTIMER EIPPER
William Forsythe’s Quintett (Sydney Dance Company)
DAVID MACK
William Forsythe’s Quintett (Sydney Dance Company)
JACK ZIESING
Natalie Weir’s The Red Shoes (Expressions Dance Company and Queensland Performing Arts Centre)
BEST VISUAL OR PHYSICAL THEATRE PRODUCTION
BEYOND THE CIRCA
Arts Centre Melbourne and Circa
DISLOCATE’S “IF THESE WALLS COULD TALK”
Marguerite Pepper Productions
THE PAPER ARCHITECT
Davy and Kristin McGuire and Perth International Arts Festival
TABAC ROUGE
Produced by Compagnie du Hanneton, presented by Sydney Festival
BEST DIRECTION OF AN OPERA
DAVID MCVICAR
Faust (Opera Australia)
DAVID MCVICAR
Don Giovanni (Opera Australia)
LEIGH WARREN
Philip Glass Trilogy (State Opera of South Australia)
PAUL CURRAN
Faramondo (Brisbane Baroque)
BEST FEMALE PERFORMER IN A SUPPORTING ROLE IN AN OPERA
ANNA DEVIN
Faramondo (Brisbane Baroque)
ANNA STARUSHKEVYCH
Faramondo (Brisbane Baroque)
NICOLE CAR
Don Giovanni (Opera Australia)
TARYN FIEBIG
Don Giovanni (Opera Australia)
BEST FEMALE PERFORMER IN AN OPERA
CAITLIN HULCUP
Iphigenie en Tauride (Pinchgut Opera)
JENNIFER RIVERA
Faramondo (Brisbane Baroque)
LATONIA MOORE
Aida – Handa Opera on Sydney Harbour (Opera Australia)
NICOLE CAR
Faust (Opera Australia)
BEST MALE PERFORMER IN A SUPPORTING ROLE IN AN OPERA
CHRISTOPHER LOWREY
Faramondo (Brisbane Baroque)
SHANE LOWRENCEV
Don Giovanni (Opera Australia)
TEDDY TAHU RHODES
Faust (Opera Australia)
WARWICK FYFE
The Flying Dutchman (Victorian Opera)
BEST MALE PERFORMER IN AN OPERA
ADAM DIEGEL
Madama Butterfly (English National Opera, Metropolitan Opera and Lithuanian National Opera)
CHRISTOPHER PURVES
The Perfect American (Brisbane Festival and Opera Queensland)
CLAUDIO SGURA
Tosca (Opera Australia)
MICHAEL FABIANO
Faust (Opera Australia)
TEDDY TAHU RHODES
Don Giovanni (Opera Australia)
BEST OPERA
FARAMONDO (Brisbane Baroque)
FAUST (Opera Australia)
MADAMA BUTTERFLY (English National Opera, Metropolitan Opera and Lithuanian National Opera)
THE PHILIP GLASS TRILOGY (State Opera South Australia)
BEST CHAMBER AND/OR INSTRUMENTAL ENSEMBLE CONCERT
GOLDNER STRING QUARTET, MUSICA VIVA INTERNATIONAL CONCERT SERIES NATIONAL TOUR 2015
Goldner String Quartet for Musica Viva Australia
LES ARTS FLORISSANTS and LE JARDIN DES VOIX IN Â JARDIN Ã L’ITALIENNE
Melbourne Recital Centre, Sydney Opera House and Perth International Arts Festival
THE SIXTEEN
Melbourne Recital Centre, Sydney Opera House, Perth International Arts Festival, Queensland Performing Arts Centre and Australian National University of Music, Llewellyn Hall
STEPHEN HOUGH IN RECITAL
Sydney Symphony Orchestra
BEST SYMPHONY ORCHESTRA CONCERT
THE DAMNATION OF FAUST
Melbourne Symphony Orchestra
MAHLER 3
Melbourne Symphony Orchestra
REFLECTIONS ON GALLIPOLI
Australian Chamber Orchestra
TAFELMUSIK’S HOUSE OF DREAMS
Musica Viva
BEST INDIVIDUAL CLASSICAL MUSIC PERFORMANCE
ASHER FISCH
Beethoven Festival (West Australian Symphony Orchestra)
CHRISTIAN TETZLAFF
Christian Tetlaff (Melbourne Recital Centre)
EMANUEL AX
The Beethoven Piano Concertos (Sydney Symphony Orchestra)
WILLIAM CHRISTIE
William Christie (Melbourne Recital Centre, Sydney Opera House, and Perth International Arts Festival)
BEST REGIONAL TOURING PRODUCTION
FESTIVAL OF CIRCA
Circa
FOOD
Force Majeure and Belvoir
KELLY
Queensland Theatre Company
SONS & MOTHERS
Performing Lines and No Strings Attached Theatre of Disability
BEST PRESENTATION FOR CHILDREN
CARNIVAL OF THE ANIMALS
Circa and Queensland Performing Arts Centre
HANS CHRISTIAN, YOU MUST BE AN ANGEL
Sydney Opera House and Arts Centre Melbourne
PETE THE SHEEP
Monkey Baa Theatre Company
THE RABBITS
Opera Australia and Barking Gecko Theatre Company, in association with West Australian Opera, cocommissioned
by Perth International Arts Festival and Melbourne Festival
2015 HELPMANN AWARDS BESTOWED AWARD
BEST SPECIAL EVENT
PERTH INTERNATIONAL ARTS FESTIVAL IN ASSOCIATION WITH ROYAL DE LUXE
The Incredible and Phenomenal Journey of the Giants to the Streets of Perth
If you haven’t heard anything around the traps like, “WELL THE LAST TIME I SAW DIRTY DANCING…” or “I THINK I PREFERRED THE ORIGINAL BECAUSE…” you’ll love this production. It’s the scaled back touring version but look; all over the world there are people who haven’t eaten today. So how much you gonna’ complain? We’ve been seeing more and more mega musical theatre and dance productions stop by Brisbane (this one’s unashamedly a dance production), largely due to the concerted efforts of John Frost and those who would follow in his footsteps, and this is certainly not the worst of them, although it could be much, much better.
It’s literally “the classic story on stage”, the famous movie brought to life, and people LOVE IT!
I enjoyed this Dirty Dancing, I really did, it’s lots of fun, but there are some things that miss the mark. Firstly, there is the obvious casting issue of Kurt Phelan as Johnny Castle, the sexy Kellerman’s dance instructor. Phelan’s a terrific dancer and he’s got a cool Kenickie style swagger, but Patrick Swayze he is not. Every other character has been created in the likeness of their movie counterpart and for the best effect, this approach should be consistent.
Kirby Burgess, the shining light of this show, presents a beautifully measured genuinely naïve Baby-who-becomes-a-woman; she’s possibly been asked to channel Jennifer Grey on stage (whilst retaining her own vibe, the mark of a natural performer), whereas Phelan must have been advised to forget Swayze’s portrayal and make the role his own. This he does and it only vaguely works, despite his prowess as a dancer. There’s nowhere near the same level of charisma, nor the depth of emotion in his interactions with Baby. BUT I CAN SEE THE YOUNGER PUNTERS ADORE HIM.
Some of the best moments from these two? The steamy end of Act 1 is as sexy as this show gets AND IT’S HOT – you’ll def want another daiquiri during Interval – and this is where we finally see a connection between our two leads. ABOUT TIME. We LOVE Baby’s secret solo dance practice in the Wipeout montage (even Rocky had a montage), and the gorgeous Love Is Strange “lover boy” scene in which the pitiful son of the owner of Kellermans, Neil (Gabriel Brown, either too young for the role or he’s playing it too young), interrupts Baby and Johnny in the studio. Burgess steals the scene with her parody of the parody of Johnny’s teaching style.
Secondly, the pace is super fast and sometimes the short scenes are so slickly delivered and abruptly finished that I feel we’re being cheated. Yes! Cheated! I want everybody to SLOW DOWN and indulge in some of the major moments, so that we can indulge in those moments – there are so many wonderful moments – and relive our delight and surprise of seeing the film for the first (or seven hundredth time)! It’s like watching the movie trailer but not the movie, and I feel there should be more…everything; more songs, more scenes, and more detail in order to fully develop the story because the story, as it’s told on stage, is lacking. Apparently, there is 40% more new material! But I want smooth transitions too.
And I’ll tell you something else. You’ll laugh out loud. Because I hadn’t read the reviews from Sydney and Melbourne (ain’t nobody got time for that!), I DIDN’T REALISE IT WASN’T A MUSICAL. I KNOW. I’M AN IDIOT. OF COURSE IT’S A DANCE SHOW. DIRTY DANCING. RIGHT? RIGHT.
I was genuinely surprised when none of the leading characters broke into song!
I know my sharp intake of breath was heard (because I got a raised eyebrow from a woman nearby like, “I KNOW, RIGHT?!”) when Johnny didn’t even start singing She’s Like the Wind, the track Swayze wrote and recorded for the soundtrack of Grandview, USA (when it wasn’t used for Jamie Lee Curtis’s character, Swayze pitched it to the Dirty Dancing team). WHAT THE? I’m truly disappointed that the show’s creators thought this unnecessary.
GUYS. LISTEN. WRITE THE SCENES. WRITE THE ADDITIONAL SONGS. LET THE LEADS SING THE SONGS. IT’S NECESSARY.
I love Mark Vincent as Billy, who gets to sing a bit and does so beautifully. In the Still of the Night is a highlight and it’s a shame that a number of little moments involving him are glossed over because as a “non-actor” (I don’t know why we say that about singers, or let them say it about themselves. I take it back!), he brings a natural warmth to the stage, and we need more of it. I enjoy Eric Rasmussen’s musical numbers and you know I LOVE seeing the band on stage, and in this case I’m thinking that with such a slick outfit available it’s even more ridiculous to deny the other artists the vocal lines in the songs.
BUT IT DOESN’T MATTER WHAT I THINK. THE SHOW WILL SELL OUT.
It’s clear on opening night that the audience is comprised of many serious fans that know the film inside out and back to front. They pre-empt each iconic scene and all the classic lines.
My German homestay student, Nici, is one of the more obsessive ones. She joined us in January to attend one of the local high schools. The first film we all watched together at home was Dirty Dancing. SHE LOVES THE MOVIE AND LOVES THIS PRODUCTION. SO I BOUGHT HER THE SHIRT AND PROBS SHOULD HAVE ASKED HER TO WRITE THE REVIEW.
While I was at another opening night on the company’s night off this week she messaged me to let me know
BABY IS IN THE HOUSE!
HA! OBSESSED.
The ensemble is excellent and full of energy. There doesn’t appear to be many of them on stage but they clearly relish their roles and given any opportunity to do so, dance up a storm. Adam Murphy is a stand out as Baby’s daddy, Dr Jake Houseman, because JUST LIKE THE MOVIE ONLY YOUNGER. AND MORE SUAVE, IN THAT OLD FASHIONED MISOGYNISTIC MUST-CHANGE-FOR-THE-SAKE-OF-MY-WIFE-AND-DAUGHTERS SORTA’ WAY. Chris Ostrenski is a suitably shallow, callous, gorgeous Robbie and Teagan Wouters OWNS the role of Baby’s sister, Lisa, although you’ll have to decide to love or loathe her carefully produced speaking voice. Maddie Peat is not my ideal Penny but I had expected any Penny to gradually let us get closer and closer as she breaks and begins to heal again, and not just high-kick her way through the show. Penny’s got a hell of an arc; hers is the toughest sub-plot to pull off and I just wasn’t convinced. BUT LEGS! YES! SHE’S GOT ’EM!
Now here’s a weird one. While most of the design elements work surprisingly well, the iconic let’s-get-outta-here field and lake scenes projected across a scrim really DON’T (are they supposed to? Really? Is it a joke?), AND there is a strange amused/bemused ripple of laughter as the splash of the sound effects are added. I think it feels, by this stage of the show, that we’ve accepted the questionable creative choices, shrugged them off and decided WHAT OF IT. IT’S STILL GOOD. This comes after a LOT of cheesy mime, which is well executed but IT’S WEIRD. WHERE’S THE CAR?
When it comes to the final scene and THE LIFT the crowd goes crazy and I decide WHATEVS. GET THOSE BUMS ON SEATS. What a great show to see and for its duration, not have a care in the world. How lucky are we?
There’s not a lot of deeper meaning here. Every opportunity to bring us the story we love in a new light is missed. (I’m not sure why we get a racial tolerance lesson towards the end either; we know when and within what context the story takes place, but perhaps it’s just as well, considering the timing of ABSINTHE opening across the bridge in King George Square, currently enjoying a similarly deliriously happy customer base despite its appalling spoken content… We shall overcome? Shall we? Really? Does anyone tell the truth anymore about what they’re seeing?
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