Reviews

The Last Five Years

By Jason Robert Brown. Presented by NUTS (National University Theatre Society). Directed by Maddie Mavro. ANU Drama Lab, Union Court ANU. 10 – 13 May 2017

Wry laughs and pathos abound in NUTS production of the cult tear-jerker The Last Five Years. This is a bare bones, tiny budget show, hinging on the sheer energy of Jamie (Colin Balog), the unworldliness of Cathy (Alessa Kron) and Erica Chen’s excellent piano rendition of the fabulous score.

The Diary of Anne Frank

By Francis Goodrich and Albert Hackett. WAAAPA Third Year Acting students. Directed by Peggy Shannon. The Roundhouse Theatre, WAAPA, Mt Lawley, WA. May 5-11, 2017

WAAAPA’s Third Year Acting students presented a very moving, beautifully told rendition of The Diary of Anne Frank, by Francis Goodrich and Albert Hackett, in a production that showcases not only beautifully developing acting skills, but the depth of talent of WAAPA Production and Design students. Under the guidance of visiting Canadian director Peggy Shannon, WAAPA produced a piece that moved much of the audience to tears.

Velvet

Organised Pandemonium. Directed by Craig Ilott. The Playhouse, Canberra. 3–14 May 2017. And touring Australasia

Its makers describe Velvet as a party ("with an exhilarating disco soundtrack"), and as a show bursting with disco, cabaret, dance, glamour, and circus.  The show opens, continues, and closes with soundtracks to which performers dance or sing or perform aerial acrobatics.  It's certainly an unusual mix, though in fact I saw no cabaret.

 

Having watched it, I'm still unclear what Velvet is.  The only evident connection between all the performances was the set they all appeared on.

Mary Shelley’s Frankenstein

Adapted and directed by Terri Brabon. TheatreiNQ, Townsville. April 19 – May 7, 2017.

Terri Brabon is one mighty clever theatre person. Her vision for Townsville’s TheatreiNQ delivers a brand of successful theatre which combines community actors with professionally trained actors.

Between the Streetlight and the Moon

By Melita Rowston. Produced by MopHead Productions, bAKEHOUSE Theatre Co., Stephen Multari and Eloise Snape. Director: Anthony Skuse. Kings Cross Theatre, Sydney. 5 – 27 May 2017

The new Kings Cross Theatre is a tiny space up four steep flights of stairs in a building that overlooks the Cross’s famous Coca Cola sign. For this production the acting area cuts the audience into two and as many old chairs as possible have been crammed together. No problem – except it's one act running for 105 minutes and the only possible exit for 50% of the audience is via the stage. Oh, the joys of the fringe!

How to Succeed in Business Without Really Trying

Music & Lyrics: Frank Loesser. Book: Abe Burrows, Jack Weinstock and Willie Gilbert. Hornsby Musical Society. Hornsby RSL Club. May 5 – 13, 2017

Naked corporate ambition and intrigue probably hasn’t changed much since Tony Award and Pulitzer Prize winning musical How to Succeed in Business Without Really Trying

made its debut in 1962 - a corporate age recently captured in the latter seasons of TV’s Mad Men.

Its political incorrectness will strike some raw nerves, yet it’s still so easy to identify with former window washer J. Pierpont Finch as he schemes and manipulates his way up the corporate ladder with zero qualifications, and a ‘How To’ book.

Chicago

Music: John Kander. Lyrics: Fred Ebb. Book: Fred Ebb & Bob Fosse based on the play by Maurine Dallas Watkins. Penrith Musical Comedy Company. The Joan Sutherland Performing Arts Centre, Penrith. May 5 – 13, 2017.

Penrith Musical and Comedy Company are first NSW company to present the brilliant Kander and Ebb musical Chicago on its return to the circuit this year, with lots of excitement and expectation as other societies follow suit during the year. Choosing to perform in the smaller concert hall instead of the larger theatre was a good decision. With a very minimal set design, the space worked to their advantage and nothing got lost.

MotherLode

Directed and compiled by Dean Carey. Rue De La Rocket and The Hub Studio. Actors Centre Australia, The Forum Theatre. May 4 – 13, 2017.

Seven women sitting on chairs face the audience, lit by candlelight and surrounded by a backdrop of projected stars - they pour their hearts out, as atmospheric music washes over them.

There is no stage movement; sometimes they talk just to the audience and other times they interact. The voiceover at the beginning explains that every word from this verbatim piece has been taken from actual interviews from mothers.

Swan Lake

By Pyotr Ilyich Tchaikovsky. Choreographer: Ben Stevenson after Pepita and Ivanov. Conductor: Nigel Gaynor. Queensland Ballet. Lyric Theatre, QPAC, Brisbane. 5 - 13 May 2017 (reviewed at the Matinee Performance 6 May 2017).

Artistic Director Li Cunxin has waited many years for Queensland Ballet to present Ben Stevenson’s version of Swan Lake for the first time in Australia,and with the esteemed choreographer on hand (assisted by Tim O’Keefe) to recreate his vision, it’s a time for celebration. Swan Lake and Stevenson’s production hold a special place in Li’s ballet DNA with him having been taught the movement by Margo Fonteyn for Housten Ballet’s 1985 production where he danced Prince Siegfried.

La Sonnambula

By Vincenzo Bellini. Victorian Opera. Conductor: Richard Mills. Hamer Hall. May 5, 2017

Exquisite!

There was no other word for it. Sydney’s Jessica Pratt again returned from Europe to star in one of her favourite roles, and showed why last year she won the international award for Best Soprano of the Year.

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