Naked Boys Singing

Director: Jonathon Worsley. Musical Director: Sheena Crouch. Choreographer: Adam Williams. Malthouse Theatre (Vic). May 4 - 12, 2012.

The title, Naked Boys Singing, really said it all, though they were men, not boys. From part way through the opening song, that’s what we had for the rest of the show. After a while it lost its shock value. There was no plot, no political points made. This was meant to be a fun night out for those who like to push the envelope.

When Dad Married Fury

By David Williamson. Ensemble Theatre, Sydney. Director: Sandra Bates. 9 May – 16 June, 2012. Additional Performances at the Theatre Royal, Sydney on June 22 & 23.

With three major productions to his name, David Williamson is the Ensemble’s house dramatist for 2012. The year started with Greta Scacchi in Nothing Personal and will end with Garry McDonald in Managing Carmen. Meanwhile here’s Nick Tate in When Dad Married Fury, already booked out before the first night and extended ‘due to overwhelming demand’.

On The Rocks

Vertical Shadows Dance Group. Director / Choreographer: Stephen Agisilaou. Chapel off Chapel. May 9-12, 2012.

They’re young, they’re beautiful, and they are totally committed to the idea of narrative contemporary dance as envisioned by director Stephen Agisilaou. They are the dancers of Vertical Shadows.

Stephen’s latest work On The Rocks shows us how to think outside the square where dance is concerned. It’s about as far away from anything you will see at the Arts Centre as it could possibly be, and far more refreshing.

Reasons To Be Pretty

By Neil LaBute. Director: James Beach. Featuring: Julia Grace, Andrew Henry, Stephen James King and Lucy Maunder. Darlinghurst Theatre (NSW). May 4-June 3, 2012.

Sunset Boulevard

By Andrew Lloyd Webber, Don Black and Christopher Hampton. CLOC Musical Theatre (Vic). National Theatre, St Kilda. May 4 – 19, 2012.

From May 4 to 19, the National Theatre at St Kilda is the proud host of CLOC Musical Theatre’s extravagant production of Sunset Boulevard. Andrew Lloyd Webber’s musical is set in 1950s Hollywood, where struggling screenwriter Joe Gillis meets and forms a dependent relationship with silent film era star Norma Desmond.   

Vikram and the Vampire

Zen Zen Zo. Studio 3, Old Museum, Brisbane. 3 – 19 May 2012

This was my first experience of Zen Zen Zo. Lynne Bradley and Simon Woods formed the company in 1992 and passed on the mantle to recent inductees to Brisbane’s Theatre Hall of Fame, Michael Futcher and Helen Howard.

As first production under their direction Futcher and Howard reworked their 1995 success The King and the Corpse, this time using stories from Indian folklore.  Hence Vikram and the Vampire.           

Avenue Q

By Robert Lopez, Jeff Marx and Jeff Whitty. JYM Theatre Co. (Vic). Phoenix Theatre, Elwood. May 5 – 19, 2012

Sold out before opening night (extra performances now scheduled), Avenue Q at the Phoenix Theatre is a delight. Professional, riveting, moving; JYM Theatre Company’s purpose is achieved. 

Miss Saigon

A musical by Claude-Michel Schönberg and Alain Boublil, with lyrics by Boublil and Richard Maltby, Jr. Chatswood Musical Society. Director: Anne Veitch. Concourse Theatre, Chatswood. May 4 - 12, 2012.

Not so long ago the Chatswood Musical Society specialised in staging almost forgotten operettas with large choruses filled with middle aged and elderly men and women. Lilac Time, Waltzes From Vienna and The Naughty Marietta were amongst them. What a contrast Miss Saigon was, in the company’s first production inside the sparkling new Concourse Theatre. The leggy girls in their tight hotpants and skimpy bikini tops inside the Saigon nightclub were literally a world away from the Chatswood Musical Society of old.

Speaking in Tongues

By Andrew Bovell. Canberra Repertory Society. Director: Ross McGregor. Theatre 3, 3 Repertory Lane, Acton, Canberra. 4 – 19 May, 2012.

Nine characters’ lives twist, weave and glance off each other in this swim through the murky side of suburban behaviours. You dip your toes in the water as two couples make tentative steps towards adultery. The current gets stronger as a man pines for the fiancée who fled to Europe before the wedding and never came back. Before you know it, you’re in over your head as another woman disappears without trace.


By Matthew Blackwood Hume. King Street Theatre, Newtown. May 1 – 13, 2012.

A new Australian play, produced on the smell of an oily rag, and presented as a profit share, rates for me as way preferable to some very ordinary new plays I’ve seen with big bucks and big names thrown at them in mainstream seasons, where I tend to resent my share of any taxpayer subsidy. There’s honest raw energy, as everyone gives generously of themselves for little or no remuneration, in ‘Off-OfF-Broadway’ type venues, to get new work up, even if it is somewhat undercooked.

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