Reviews

Bambert’s Book of Lost Stories

Adapter: Dan Giovannoni, Adapter & Director: Luke Kerridge, Production Designer: Jonathon Oxlade, Lighting Designer: Chris Donnelly, Composer/Sound Designer: Ian Moorhead, Dramaturg: Matt Edgerton, Cast: - Igor Sas, Amanda McGregor, Jo Morris, Nick Maclaine and Tim Watts. Arts Centre Melbourne, 27 & 28 October 2017

Barking Gecko Theatre Company’s presentation of Bambert’s Book of Lost Stories is magical, and so fittingly adapted for the stage by Dan Giovannoni and Luke Kerridge.  The production brings to life the exquisite illustrations of Reinhardt Jung’s book, the characters in the story are validated and the audience can step into a world of fantasy, into a time when storytelling and imagination were fundamental above everything else.

The Wharf Revue - The Patriotic Rag

Written and Created by Jonathan Biggins, Drew Forsythe and Phillip Scott. Sydney Theatre Company. Wharf 1 Theatre. October 24 to December 30, 2017.

Satirists have to move with the times and so when the sparkling Blazey Best came on stage as the beautifully quaffed Michaelia Cash, she apologised for being late due to a staff farewell function – referencing the resignation, the night before, of the minister’s press secretary. 

Jonathan Biggins too settled in for large helpings of improvisation as Donald Trump. He wound up the audience when they didn’t get a gag. My first wife was a blank cheque….err that was blank Czech.

Grace Under Pressure

By David Williams, Paul Dwyer in collaboration with the Sydney Arts & Health Collective. York Theatre, Seymour Centre, Sydney. Directed by David Williams. 25 – 28 October, 2017

This is a prime example of ‘verbatim theatre’, plays created from interviews with specific people - in this case doctors and nurses talk about their training and practice in Victorian and NSW hospitals. The dialogue is chopped up and divided between four actors, all equally good, and the resultant dish served for just a few days at the Seymour Centre. It’s striking enough to go much further.

In the Heights

Music & Lyrics: Lin-Manuel Miranda Book: Quiara Alegría Hudes. Blackout Theatre Company. Director: Cierwen Newell. Musical Director: James McLanders. Choreographer: Daniel Lavercombe. The Joan Sutherland Performing Arts Centre, Penrith. October 25 – 28, 2017.

In a blink-or-you’ll-miss-it season Blackout brings out In the Heights , and entertains us with  a joyous display of a slice of life in a US barrio in New York.

In the Heights won four Tonys including Best Musical. While there’ve been professional productions around the world, it’s Broadway success has never translated outside of Broadway (though a film version is supposedly in the works). So it’s very welcome that an amateur company is giving us a chance to see what all the fuss was about.

1984

Written by Michael Gene Sullivan. Based on the novel by George Orwell. Directed by Scott West. Presented by 4Stage Productions. The Schonell Theatre, 20 – 22 October, 2017

Audiences will always approach well-known stories with certain expectations. When attending a production of 1984, one expects bleak tension, oppression and heartbreak (I’d packed the tissues). The dystopian play that’s sprung forth from Orwell’s well-known novel needs to make an audience feel uncomfortable. We need to be reminded of the horrors of authoritarianism and totalitarianism.

Chicago

Music: John Kander, Lyrics: Fred Ebb Book: Fred Ebb and Bob Fosse. Engadine Musical Society. Director: Sue Bunt, Musical Director: Joshua Ransom, Choreographer: Craig Nhobbs. Engadine Community Centre. October 20 – 29, 2017.

Engadine’s Chicago is full of Class and Razzle Dazzle.

Sue Bunt’s inspired direction and set design, Josh Ransom’s tight musical direction, Craig Nhobbs’s amazing choreography, the supremely talented cast, and the tech teams have pulled out all stops to ensure a professional-standard show that entertains with pizzazz and elegance.

Die Fledermaus

By Johann Strauss II. State Opera South Australia. Her Majesty’s Theatre, Adelaide. October 24/25th, 2017

Die Fledermaus is the quintessential operetta penned by the legendary Johann Strauss II and first presented in 1874. It has been updated many times with varying degrees of success. David Lampard, well known to Adelaide for his quirky interpretations of classic works has moved the story to Beverley Hills in the present day.

Les Misérables

By Claude-Michel Schonberg & Alain Boublil. Based on the novel by Victor Hugo. Music: Claude-Michel Boublil. Lyrics: Herbert Kretzmer. Spotlight Theatre, Benowa, Gold Coast. Tony Alcock, Musical Director: Matt Pearson. Oct 20th – Nov 11th, 2017.

Spotlight’s final offering for the year is the blockbuster musical Les Misérables and what a fitting finale it is!

This is Musical Theatre at its best! Musically, the show sparkles with brilliant singing and orchestral work under the baton of M.D. Matt Pearson.

The large cast of 44 all revel in their various (and numerous) roles, with the visual aspect in the capable hands of Choreographer Jess Papst. Tony Alcock’s direction really brings this Victor Hugo epic to life.

Madama Butterfly

By Giacomo Puccini. Libretto by Luigi Illica and Giuseppe Giacosa. Director: Moffatt Oxenbould. Conductor: Brian Castles-Onion. Capitol Theatre, Sydney. 24 October - 7 November, 2017

When your home is the Sydney Opera House, going elsewhere during renovations will always test the loyalty of your guests. Opera Australia is using the Capitol Theatre for its only mainstage production since the Joan Sutherland Theatre closed in May for a makeover. The choice is a tried-and-tested production of one of the most loved operas.

Rent

By Johnathan Larson. Macquarie University Musical Society. Director: Jo Elizabeth Finnis. Musical Director: Paul Young. Lighthouse Theatre Macquarie Uni. 19th -28th October 2017.

The Tony Award winning musical Rent, loosely based on Puccini’s La Boheme, seemed the perfect musical for this University group to perform. The cast all seemed to be of relevant age, which in some productions of this can be negative if cast too old. This cast all had the maturity in their stage presence and excelled with the sometimes quite difficult score.

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