Posts Tagged ‘rhonda burchmore

03
Oct
15

Into the Woods

 

Into the Woods

Harvest Rain

QPAC Concert Hall

October 1 – 4 2015

 

Reviewed by Xanthe Coward 

 

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I met my husband during a production of Into the Woods. Have I told you this story? Probably. Poppy delights in the delivery, repeating it with a straight face precisely the way Sam tells it, and telling it proudly on Harvest Rain’s opening night to a random woman pre-show. “Daddy was the handsome prince and mummy was the witch and apparently, he says, nothing’s changed.” (You’ll have to wait to read the rest of the story. It’s not all Poppy-appropriate).

 

Harvest Rain uses the tagline, “You’ve seen the film, now experience the magic live on stage” to promote their production of the Sondheim-Lapine favourite. I was one of the eighties children to whom Michael Schulman referred in The New Yorker last year (although I was never too good for Lloyd Webber!), who felt excited and scared about the release of Disney’s movie version of Into the Woods, and then felt disappointed after finally seeing it. HR’s production, produced and directed by Tim O’Connor, doesn’t stray too far from the original Broadway version, which you can still find online. This is a good thing. When I was growing up we wore out a VHS tape of the first television broadcast of this brilliant PBS American Playhouse performance.

 

In 1989, from Thursday, May 23 to Saturday, May 25 the full original Broadway cast (with the exception of Cindy Robinson as Snow White instead of Jean Kelly) reunited for only three performances for the taping of the musical in its entirety for the Season 10 premiere episode of PBS’s American Playhouse and first aired on March 15, 1991. The show was filmed professionally with seven cameras on the set of the Martin Beck Theater in front of an audience with the with certain elements changed from its original nightly counterpart only slightly for the recording in order to better fit the screen rather than the stage such as the lighting, minor costume differences, and others. There were also pick up shots not filmed in front of an audience for various purposes. This video has since been released on Tape and DVD and on occasion, remastered and re-released. This video is considered to be the original Into The Woods. 

 

In defiance of previous, more lavish productions though, O’Connor makes a point of doing a couple of things very differently, depending largely on our imaginations and the skill of the actors, particularly in terms of the props used. Into the Woods is still one of the most challenging musicals to get right, with a complex score and a deeply nuanced book full of familiar fairytale characters making not-so-familiar decisions and changing the course of those well-known tales forever.

 

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In a masterstroke (and a great improvement on the use of the same milling and seething and dressing device used in Jesus Christ Superstar), O’Connor establishes old-school storytelling in the style of Shakespeare’s mechanicals and retains, in the tradition of Pippin’s Leading Player, the use of the Narrator (the likeable Dean Vince) not only as storyteller, but also as a sort of master of ceremonies, seeking and presenting props, and gently persuading characters to act within the narrative bounds. He never leaves the stage…until he is pushed. The Baker (Eddie Perfect) and the Baker’s Wife (Rachael Beck) respond to the detail of his tale as he introduces it, Jack (Tom Oliver) takes from him a bicycle for a cow, Little Red Riding Hood (Kimberley Hodgson) loads him up with armfuls of bread, and Cinderella (Georgina Hopson) looks to him for reassurance as she goes to the tree in which her mother’s spirit resides (Natalie Greer). Vince is integral; he’s the golden thread weaving all characters together and should he find a little more Ben Vereen-ness by the end of the season (it’s a short one – one weekend!), he’ll serve as the perfect anchor too.

 

I wonder when we’ll see HR’s Pippin? I’d love to see that!

 

 

There is more movement than necessary in this production (not least during the Witch’s lament – somebody tell those stepsisters to stay perfectly still! #focus101), however; it’s without the usual impressive choreography from Callum Mansfield. This can almost be forgiven for there’s very little space on stage, in fact, barely enough for the happy couples at the end of Act 1 to gallop across it. Josh McIntosh’s multi-level design forces the action downstage, with several steps leading to an upper level (above an underutilised cavern partially concealed by a hessian curtain) taking centre stage and claiming much of the space. The only characters that use the steps to good effect (and without inducing barely audible gasps of the “don’t fall!” variety) are The Baker, Cinderella and Cinderella’s Prince (Steve Hirst). With the orchestra hidden behind “the woods” (though we barely glimpse them they sound sensational under the competent hand of Jason Barry-Smith), ultimately the darker subtext of the setting is lost, as all are pushed forward into Andrew Meadows’ brighter, whiter lights.

 

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Obviously I’m partial to the Handsome Prince archetype – I married one after all – but it’s not only this bias (and a slight resemblance to Russell Crowe in one of his better roles, in Master and Commander – must be the wig) that makes Hirst memorable. He nails it, and does a decent job of the Wolf as well, losing none of the original dark intent of this role, a flicker of the other, particularly in the physicality, and presenting a fine match for Hodgson’s spunky Little Red. Hirst’s sonorous vocals and confidant comedy (tongue placed firmly in cheek) are reminiscent of his Sir Galahad, of course, and are perfectly suited here. Despite being glossed over (for the sake of the children, just as Jack’s song seems to be?), his moment in the woods with Beck is delightful, and predictable in every arrogant male conquest sense of the word (insert eye roll here). By making a little a lot more of his princely entrances and exits he might have an award nom worthy body of work. Just saying.

 

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It’s true that Hodgson has the plum role and in it she too is a stand out, absolutely gorgeous and genuinely hilarious, landing on every one-liner, providing much of Sondheim’s carefully placed light relief and witty wickedness in the only truly original take on a character in this production. Hodgson brings the moral tale intact but it’s repackaged for a new audience, fresh and funny and poignant. A graduate in 2013, Hodgson represents the bright talent and intuitive approach to performance that the Queensland Conservatorium of Music is nurturing under the guidance of Paul Sabey and co.

 

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Another Qld Con grad (2014) and a finalist for this year’s Rob Guest Endowment Award, the disarmingly lovely Hopson effortlessly carries the Cinderella story and gives us one of the most insightful and mature readings ever of On the Steps of the Palace, which is no mean feat! Hopson, both vocally and emotionally, handles one of Sondheim’s greater musical challenges with care and consideration for this character’s decision making process. As well as some sweet moments between she and Beck (A Very Nice Prince), Hopson sets up Cinderella’s part in the relationship with the Prince, preparing us nicely for their inevitable (agreeable) decision to go their separate ways, as some of us must.

 

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Eddie Perfect, Rachael Beck (these two really are lovely together), Penny Farrow and Tom Oliver also work just beyond stereotypes to bring us the reality of being childless and penniless, although Oliver would do well to drop the accent and give us the Australian voiced adult version of Giants In the Sky, which might give us a greater arc between the initial wonder and final realisation (and satisfaction) of Jack…and a valid reason to view him as Dash Kruck’s only real competition for the title role if there were to be a professional production of Pippin in the future. JUST SAYING.

 

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Now, will we talk about the tall, leggy, sparkly elephant in the room? I love Rhonda Burchmore, but not in this role. It probably seemed like a good idea at the time of casting, but perhaps more through misdirection than any of her own choices (who ever really knows?), a commedia-esque mask in Act 1 (concealing desperately needed complex emotions) and too-too-too-high heels in Act 2 (making a comedy of each entrance and exit) make it difficult for Burchmore to really sell the nuances of this role. So many moments fall flat and there is no wide-eyed, amazed applause after her part in the Prologue or Last Midnight, which should retain an element of surprise, just as the transformation should, regardless of the number of times we’ve seen the show. Despite Natalie Greer’s work as Rapunzel, even Stay With Me somehow misses the mark. The role, rather than being approached as an extension or manifestation of some aspect of the performer, is treated as a star vehicle and the show is the poorer for it.

 

A friend commented after the show about Into the Woods being such a great ensemble piece, and with so many on stage there’s not really one who shines…but the Witch should shine and her presence should be felt even after she’s gone. We should be moved beyond words, horrified and full of feeling for the woman who fails so miserably at motherhood. Burchmore has the hardness but not the vulnerability or tenderness that even the wickedest witches among us must feel. Perhaps this Witch would have felt more comfortable on stage – and on those steps – in her Camilla kaftan and flat gold sandals, which were donned for the after party.

 

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Outside of some of the performances, there’s little magic in Harvest Rain’s production, though the “simple and rudimentary” approach to the storytelling is a far cry from explaining it. After the light and breezy feel of Act 1 we’re left with the darker aspects of the story – of life – but not in any real, raw sense. When it comes to Harvest Rain I can never quite put my finger on what’s missing but here’s another example. The Mysterious Man (Ron Kelly) employs an inexplicable nasal tone throughout (and sports a blanket?! I can’t even…) until he reveals who he really is, a moment that becomes a missed opportunity between father and son while they are separated by physical distance, destroying any chance of a tangible connection for us to tap into (No More). Similar proximity between Jack and The Baker separates them at the very moment they need to be drawn together, as Cinderella and Little Red are (No One Is Alone). These are the inconsistencies now commonplace in O’Connor’s productions. For some unknown reason, he continues to miss vital moments in storytelling and relationships, as if the intimacy is too much. And yet, once again, this is an entertaining, enjoyable show, boasting considerable talent and perfectly suitable for the whole family. Who am I to question odd staging decisions?

 

There’s no denying the awesome effort that has gone into building the company, from its humble church hall beginnings to its current status as a formidable professional presenting brand, incredibly, without government assistance (though not for much longer, I’m sure), but let’s see casting challenges met and the bar continue to be raised. Cheers and here’s to the upcoming (Spectacular Spectacular) Hairspray!

 

Two midnights gone! And just 4 more shows – today at 2pm & 7:30pm and tomorrow at 1pm & 6:30pm.

 

22
Jul
13

Little Orphan TrAshley

 

Little Orphan TrAshley

Brisbane Powerhouse

17 – 20 July 2013

 

Reviewed by Xanthe Coward 

 

Direct from a sell-out season at Sydney Opera House, the writers who brought you the smash hit Fat Swan (Trevor Ashley and Phil Scott) team up with acclaimed director Craig Ilott (Smoke & Mirrors) to give you this uproarious new spectacle with an all-star cast.

 

Ashley stars as little orphan Fannie, a ten-year old with a terrible secret… one she can’t even share with her inmates at the Sutherland Shire Girl’s Orphanage, let alone the bad-tempered showbiz has-been who runs the place: the drunken Miss Trannigan (Rhonda Burchmore). The truth is: Fannie is not yet all woman. But, to get her gender reassignment surgery, she’ll have to find her true birth parents to get their permission.

 

Luckily for Fannie, she meets acclaimed photographer/multimillionaire Daddy Warhorse (Gary Sweet) who promises to sponsor her! But can she survive a rigorous set of blind auditions, a very ‘arty’ photoshoot and an appearance on evil controversial talk-back radio personality Ellen Jones’ show before she finds her parents?

 

To make her wish come true, Fannie may need more than just her trusty ex-sniffer dog Bullshit (Rhys Bobridge).

 

Well, you might have LOVED this show. I’m happy for you #winning

 

Let me know in the comments section below what it was you loved (as opposed to telling me what you think I should already know about my lack of knowledge, experience, tact, etc, etc when it comes to reviewing theatre).

 

I really wanted to love this production. I’ve missed previous TrAshley shows but I was looking forward to seeing this one. I had a ball live tweeting the show (I’ll add those Instagram pics later), but I didn’t enjoy it. In fact, I’m surprised that something so unpolished has had some of the rave reviews it’s had. There is such a wealth of talent involved in this production but sadly, very little of it manages to cut through the crass humour and faltering pace. It could be that the brand of humour is just not my cup of tea, but even so, I expected a higher standard across all departments, regardless of personal preference when it comes to comedy.

 

Do you know what this show was? (An industry peep who shall remain nameless said it was a train wreck!). For me, it was one of those really bad parties (you know the ones, you’ve been to them too), when someone who is not the most popular person in the building invites everyone around after work on a Friday night and you go with some colleagues and a couple of add-ons because there was nothing else planned, but there’s no footy on, and they haven’t tidied the house, or planned any party games, or offered the first drink, and they’ve shopped at Coles on the way home with a budget of $32 for chips, cheese and crackers for 30 people (can you even GET chips, cheese and crackers for 30 people for under $32?). While this scenario would make a decent play, the feeling during the show that I was AT THAT AWFUL AWKWARD PARTY did nothing to convince me that I was experiencing the same show I’ve heard others go wild about!

 

Of course I was there with my social media hat on, having been invited to a lovely little pre-show soiree by the fast-moving folk in digital marketing at Brisbane Powerhouse. My feedback to them was not really for them (other than that they put on a lovely little soiree), but for the performers; if they’re going to announce before the show that they’d like us to turn ON our mobile phones and tweet the night away, they need to pause for a moment longer in those wonderful camp poses so we can get great, clear shots to post! It’s a great idea, and opens up the discussion on the merits (and annoyance to other patrons) of Tweet Seats at performances, particularly at performances of this nature. Social media loves the shock value. The Brisbane Powerhouse team are way ahead on so many counts, but I hope they have some better quality fodder to throw at us next time. Or a whole lot more champagne.

 

It goes without saying that if something sells out at the Sydney Opera House you’re gonna’ wanna’ bring it to your venue, but I fail to see what’s so appealing about Little Orphan TrAshley. It failed on so many levels for me, and I don’t think it’s useful to anybody to say otherwise. If I did, it would be a case of supporting and condoning the mediocre in a country that is renowned for its cabaret. Yes we are, indeed! So how does a show like this get let loose on the unsuspecting public? I DON’T KNOW. BUT I WOULD LIKE TO KNOW. IT FASCINATES ME. It’s different to just not being blown away by a great show (case in point: Mrs Warren’s Profession & The Maids. No, I haven’t written about them yet). So. Oh dear. Here we go. Here’s the break down:

 

  • the premise is tres amusement for a moment and then IT GETS OLD
  • the set actually looks CHEAP. This may well be the intention.
  • the lack of improvisation skills baffles me. A simple encore of the opening number would have saved everybody – performers, crew and audience – the uncomfortable two and a half minutes on opening night of microphone lead or pack probs, or whatever it was that made us all squirm uncomfortably while a techie adjusted something beneath Burchmore’s skirt. That’s right. And yet nobody on stage or off had the initiative/training/experience/forethought/improvisational skills/confidence to call it. EXCEPT THEY ALL HAVE ONE OR MORE OF THOSE SKILLS/QUALITIES. They just stood there looking embarrassed. Oh, and in the middle of all that awkward silence TrAshley acknowledged via his working mic, “Well, this is fucked!” BIG MISTAKE. I’m afraid I lost a lot of respect right there. Even in community theatre THE SHOW MUST GO ON
  • the jokes are bad. Really bad. Like, think of the worst racist, misogynist dad joke you’ve ever heard and multiply that by about 100 you-can’t-laugh-at-that groans, and that is ALMOST how poor the comedy is. I was expecting trashy AND witty. I was genuinely surprised when people laughed.
  • pedophile jokes – and worse, characters that are built upon them – are never funny

 

Bobridge and Burchmore both did their best to save the night, almost succeeding on a number of occasions, but even his chap-clad buttocks, cheeky grin and spot-on moves, and her sass, self-deprecating humour and supersize talent wasn’t enough to win me over. 

 

IS IT JUST ME? It might be. And that’s okay. I know TrAshley has a huge following already, and some of the dedicated fans were obviously glad to have caught this Brisbane season. They weren’t disappointed at all! But I bet anybody in the audience with a good, slick, sophisticated and intelligent cabaret show ready to go will be wondering WHAT THE HELL DO WE NEED TO DO TO GET A SIMILAR TOUR UP?! 

 

If Meow Meow is the Queen of Cabaret in this country (and she must be), why aren’t more artists aspiring to be like her? And by “be like her” I simply mean writing and producing cabaret shows that are slick, sophisticated, intelligent, funny and completely gorgeous. (I’ve seen a few lately that could do with the hype that comes with TrAshley, but deservedly so). Meow Meow’s shows are the best parties in town. Let’s have more of those.