Reviews

Bring It On The Musical

Book: Jeff Whitty, Music: Tom Kitt & Lin-Manuel Miranda, Lyrics: Amanda Green & Lin-Manuel Miranda. Stage Masters. Director: Alistair Smith. Choreographer: Michael Ralph. Musical Director: Daniele Buatti. Athenaeum Theatre, Melbourne. June 7 – 23, 2018

Bring It On The Musical is a high energy, loud, athletic tour de force. Based on the hit film, it is the story of an ambitious Cheerleader who achieves her life-long ambition to be leader of the squad only to find her home has been rezoned and she has to change schools. She then convinces the dance team at her new school to take up Cheerleading and compete against her old school.

However, her aim for revenge, which appears to be the obvious way the story is heading, does not eventuate, and she learns something much more important.

Danny & the Deep Blue Sea

By John Patrick Shanley. Directed by Charlie Cousins & Laura Maitland. Produced by Charlie Cousins. Siteworks, 33 Saxon Street, Brunswick VIC. 4 – 23 June 2018

Somewhere in the Bronx, in a scrappy, empty bar, a woman sits alone, her coiled, angry misery overlaying her striking looks.  A younger man slouches in with a jug of beer and sits at another table.  His knuckles are bloody, his face is cut and bruised, his hoodie dirty, his boots held together with gaffer tape.  They are two damaged isolates.  It will emerge that he fears he killed a man the night before.  His workmates call him ‘The Beast’ – and he is afraid of himself.  We realise she is contemplating suicide.

We Will Rock You

By Ben Elton. Music and Lyrics by Queens. Direction and Concepts by John Boyce, Row Blacksaw, Aaron Griffiths and Will Toft. Brisbane Arts Theatre. June 2 – July 28, 2018

Let’s face it. The whole idea was to perform the music of Queen other than in concert form and Ben Elton has concocted a convoluted story for that purpose. It works wonderfully well. The play is set in the future where individuality no longer exists – everyone wears the same style of clothes, and there’s no music or original thinking. A group of Bohemians is searching for the freedoms of the past. They meet in an old Hard Rock Cafe, try to understand what has gone before and name themselves after long lost stars such as Buddy (Holly) and Brit (Spears).

The House of Bernarda Alba

Adapted by Patricia Cornelius, after Frederico Garcia Lorca. Melbourne Theatre Company. Arts Centre Melbourne, Fairfax Studio. 25 May – 7 July, 2018.

Adapting this work to a contemporary Australian environment is brave and ambitious.  The result is a challenging, absorbing and resonant offering - though not without dissonance. 

Poet Frederico Garcia Lorca’s classic play The House of Bernarda Alba, set in rural Spain of the 1930s, is adapted for the Australian stage by Patricia Cornelius as commissioned by Melbourne Theatre Company and director, then Associate Artistic Director, Leticia Caceres.

The Edge

By Nick Choo. Catface Productions. Directed by Levon J Polinelli. The Blue Room Theatre, Northbridge, WA. 29 May - 16 June, 2018

The Edge is unusual in that the central character, Josh, is never seen. We learn a lot about Josh in the two hour show. Josh is the favourite son of his mother; his brother feels the burden of caring for him; he has found a close friend in the café in which he works; his former flat mate has a crush on him; he has had the same best friend since childhood and he has recently proposed to his girlfriend. Josh is a high achiever, very artistic, but is also very troubled and is living on 'the edge'.

My Sister Feather

By Olivia Satchell. La Mama Courthouse, 30 May – 10 June, 2018

A woman with eyes as bright as her no-brand turquoise track suit enters the stage with a sullen look on her face; quietly as if she doesn’t want anyone to notice she’s there. She checks if she can glean anything from the out-of-order vending machine. She defiantly plonks herself on the bolted-down table in the middle of the room. An ear-piercing beep blasts until she slides nonchalantly onto a chair. Egg, as she is called, is in prison.

Alice's Adventures Under Ground

By Christopher Hampton. Hamley Productions. Earl Arts Centre Launceston and Theatre Royal Backspace. Director: Andrew Casey. 3-5 and 1-9 June 2018

The set, the work of Jake Sanger, is enticing. The Victorian parlour, however, is not all that it seems, much like the conflicted man, Lewis Carroll. Projections and back lighting augment scenes in which Chris Hamley, as Carroll, narrates his tales. These are played out by an ensemble of three highly capable and versatile actors with great energy and humour.

These playfully mad episodes are juxtaposed against darker scenes in which Carroll appears to confront other demons.

Pancake Opus

By Sandra Fiona Long. Arts House Warehouse, North Melbourne. May 31 – June 19, 2018

Pancake Opus is a hunky and cathartic performance written and performed by Sandra Fiona Long. This show has been cleverly designed as an opus like structure, featuring many composite skits revolving around the making of pancakes.

Seussical

Music: Stephen Flaherty. Lyrics: Lynn Ahrens. Penrith Musical Comedy Company. Directors: Bek Want, Brenden Neaton. Musical Director: Craig Parris. Choreographer: Hannah Lansley. The Joan Performing Arts Centre, Penrith. April 13 – 21, 2018.

If you missed Penrith’s Seussical then you missed a spectacular treat. This big bold musical that brings together major characters from the books of Dr Seuss was not only fantastic quality entertainment but was also a lesson in crowd management. There were 91 in the cast and whenever all or most of them were on stage (which was lots of times) they were positioned in such a way so that each one could always be easily seen. I don’t know how directors Bek Want and Brenden Neaton achieved this feat and made it look easy.

The Nightingale and the Rose

After Oscar Wilde. Theatre Works and Little Ones Theatre. Theatre Works, Acland Street, St Kilda VIC. 30 May - 10 June 2018

Oscar Wilde’s brief satirical allegory is loaded with allusive symbols and this Little Ones Theatre production does not depart far from it in terms of plot or indeed what spoken dialogue there is. The salient differences are in gender switches and the queer aesthetic, and in making Wilde’s ironic humour more explicit.  The Nightingale’s ‘sweetest song’, for instance, not only becomes an operatic aria, but she has some uncertainty deciding just which song is her sweetest.

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