Posts Tagged ‘the lind


The New Mel Brooks Musical Young Frankenstein


The New Mel Brooks Musical Young Frankenstein

USC Performing Arts Kollective (PAK)

The Lind

26th – 28th July 2013


Reviewed by Xanthe Coward 



“Mel writes happy songs” Susan Stroman


The New Mel Brooks Musical Young Frankenstein is typical of the comedy we’ve come to know and love – or hate – since Spaceballs and The Producers.


It’s fun, it’s silly, it’s a little bit naughty; it’s a great choice for PAK, Sunshine Coast University’s Performing Arts Kollective. It’s their first musical and the show’s Queensland premiere.




We almost missed it! We spent the morning running around town and then let the new chooks out to roam free range while we had a ploughman’s lunch overlooking the pool. Sounds lovely, doesn’t it? Only, Honeycomb, our least cooperative chicken, didn’t like the idea of returning to the coop so we spent some time coaxing her with watermelon treats in our efforts to lure her back into her brand new home! This meant we had to literally run out the door (I almost ran out with my wellies on), to make the two o’clock matinee on Saturday.


The Lind, in Nambour, is the perfect Sunshine Coast venue for a student group to learn the ropes. This is PAK’s third show ever and it’s obvious they’re still learning the ropes. But look, they’re having fun and they’re getting audiences. We sat next to somebody who’d never been to the theatre – his girlfriend had a friend in the show. So if a group’s putting on new shows with new performers and getting new audiences, I don’t want to deter them. But I do want to see them start enlisting professionals on a regular basis to teach the necessary skill sets. These guys and girls can do better. They’re doing great! But they can do better. There’s a lot of talent in this group and it’s still largely undiscovered. There appears to be a little more confidence when it comes to choreography, but some strong acting and vocal work needs to happen next!




And look, it’s useless in this instance, in this local context, to point out any faults without offering to help, and so I have done; I’d love to work with these guys on something a little smaller, with more of the focus going to basic stagecraft, character, comic timing and ensemble work. Something like Let the Blood Run Free… Up until this point the group has worked entirely on their own to produce Night at the Movies and HERS & HIStory. I loved seeing Robyn Ernst’s good-humoured hand on this production though, and kudos must go to whoever deemed themselves worthy of a professional director. This is certainly a step in the right direction, with everybody involved benefitting directly from Robyn’s extensive knowledge and experience. Also, it must be said that The Lind team are doing everything right, attracting productions from all manner of professional and community groups, and doing their utmost to support the technical aspects of production. Theirs has become an excellent model for committee-run community theatre on the Sunshine Coast, or indeed, anywhere.




Brandon Maday (Dr Frederick Frankenstein) demonstrated through some of his most vibrant character, vocal and physical comedy work to date, just why he’s PAK’s preferred leading man of the moment, and Tara Bryan (Inga), Clinton Beckmann (Igor), Sharni Wilson (Frau Blucher) and Riette de Jager (Ziggy) showed solid commitment to their comical characters. As The Monster, Anthony Borsato did his best to show us two distinct sides of a one-dimensional character and handled well in the end, all of the “transference” nonsense!


Friends, look out for PAK – their energy is infectious, and it’s bringing into our theatres a whole new crowd!




Songs For a New World: Sunshine Coast Premiere Tonight


Songs For a New World opens at The Lind Tonight!


How excitement! The Tipokis have teamed up, synched calendars and produced Jason Robert Brown’s Songs For a New World for the Sunshine Coast! Actually, I suspect it’s for a national tour, but we’re happy here being the outta’ town try-out audience. I hope it will go everywhere so you get to experience it too!


The show opens tonight at The Lind in Nambour, and Sam and I will see it tomorrow night.


In the meantime, I’ve been reading what Scott Miller had to say about the show.


One of the characters in Songs for a New World says “I don’t want to philosophize. I just want to tell a story.” And that line describes Songs for a New World perfectly; in fact, it tells a whole collection of stories. It’s not a book musical – there is no over-arching plot and no consistent characters throughout the evening. In its construction, it owes much toJacques Brel is Alive and Well and living in Paris and the theatre experiments of the 1960s. It’s a collection of independent scene-songs but it’s also more than that. In a 1998 review in St. Louis’ Riverfront Times, Mike Isaacson wrote, “Songs for a New World is that very rare beast: an abstract musical. There is no specific location other than the natural ambiguity of the human heart and mind.” And yet it has a very strong sense of unity about it. Even though many of these songs were actually written for other projects over the span of several years, this show feels like it was planned as a unified whole from the beginning.


It accomplishes this mainly because every song in the show is essentially about the same thing: those moments in life when everything seems perfect and then suddenly disaster strikes, in the form of the loss of a job, an unexpected pregnancy, the death of a loved one, the end of a marriage, imprisonment, even suicide. But it’s even more about surviving those moments. It’s about the way we regroup and figure out how to survive in a new set of circumstances – a new world – even against seemingly overwhelming odds. These are songs about that new world, a world in which the definitions of family, distance, money, technology, the very nature of human contact is changing every day, a world in which the rules don’t apply as often as they do, a world in which the solutions our parents found don’t work for us, and a world in which today’s answers probably won’t apply tomorrow. For someone who has lost his job or lost a spouse, our everyday world becomes just as frightening, just as dangerous, just as uncharted as the New World was to Columbus.


The other thing that lends unity to this show is composer Jason Robert Brown’s musical habits. There are a handful of rhythmic, melodic, and accompaniment patterns that he obviously likes and that he uses frequently throughout the show. And because he wrote the opening number last, most of these patterns are gathered together in the opening to provide a nice musical framework for the evening. Also, the melody and sometimes the lyric of the opening are used throughout the show as transition pieces and even occasionally show up within other songs.


This is one of my fave songs from the show. I can’t wait to hear all of these incredible songs performed live by this awesome cast!





And how did the show come to be? Mr Miller can tell us.


Composer/lyricist Jason Robert Brown came to New York City at age twenty, determined to write Broadway musicals. Because he had no contacts or connections, he decided to do a cabaret show of songs he had written for various past projects. He had the good fortune to run into Daisy Prince, daughter of the legendary Broadway director/producer Hal Prince, at a piano bar where Brown was working. Out of the blue, Brown asked Daisy Prince to direct this show he was putting together, having no idea if she had ever directed anything before in her life. She agreed immediately. They worked on the material for three years but still had no opening number and no clear idea what the show was about. As they discarded existing songs, Brown wrote new ones. Finally it hit him. In his own words,


“It’s about one moment. It’s about hitting the wall and having to make a choice, or take a stand, or turn around and go back.”


They did a workshop of the show in Toronto, and then it was brought to the WPA Theatre in New York where it played a limited run of twenty-eight performances. The score was recorded in 1996 by RCA and released commercially. In 1998, Brown was given his first Big Time assignment – writing the score for the new musicalParade, opening at Lincoln Center in the fall of 1998, with a book by Alfred Uhry (Driving Miss Daisy) and directed by Daisy’s dad, the legendary Hal Prince. Up until this point, Brown had done a lot of work writing orchestrations and vocal arrangements for other people’s musicals (including William Finn’s A New Brain) but now it was time for him to get the spotlight and no doubt he will become one of the strongest new musical theatre writers of this generation.


Starring Patrice Tipoki Arkins, Kuki Tipoki, Jennifer Vuletic and Mark Doggett, and Musically Directed by Laura Tipoki Songs For a New World runs for a strictly limited season July 18th – July 20th 7pm and a matinee on Saturday July 20th 2pm.

Book online or call 07 54411 814


Patrice-Tipoki-colour-2010 KukiTipoki lauratipoki markdoggett jennifer