Into the Spotlight

The Hidden Theatre, in the KickStart Arts Centre, has become the venue for new small companies. True West by Jacob Golding and Sam Tooker (2022) , The Wasp by Crying Chair Theatre are examples of high-quality innovative theatre (2023) that chose this venue for its intimacy and comfort.

The Hidden Theatre is a small space with limited patron facilities but the desirable cosiness of non-standard seating – a disparate array of lounge chairs.  The stage itself is tiny, and only adapted to small ensembles and static scenery. The lighting rig offers satisfactory ability to add to theatrical effects otherwise lacking.

This was the right venue for Ensemble Musical Theatre Company's first cabaret for 2023. Ensemble is a membership-based community musical theatre company with the vision of facilitating more aspiring performers to experience the enjoyment of putting on a show. Rehearsing once a week, this is the only Hobart based group where adults have the opportunity to develop performance skills in a supportive space.  Hobart has stage schools and acting classes for children and young adults, but no non-auditioned space for adults to “have a go”. 

What was clear from this first foray since a COVID induced hiatus is that there are many talented Hobart singers whose joy and enthusiasm has been given expression by the opportunity created by Ensemble director, Jo-Maree Courtney. Some of the cast were experienced and some new to the stage entirely. Some were stretched in new directions. Elise Bagorski both wrote the script (which loosely connected the cabaret items) and designed the lighting.

The cast of Into the Spotlight were sometimes cramped on the stage, but used the auditorium level effectively.  The black drape at the rear was unrelieved but a considered colour palette in the costuming created visual variety. Lighting was used to maximum advantage and choreography, though simple, also contributed to audience engagement.  The naïve tap routine, the red feather boas and the drinking steins, which might have been awkwardly cliched, succeeded because the cast committed and embraced the moments with good humour.

Performers sang to backing tracks. This economy had the one unfortunate effect that songs were all learned and delivered with an American accent. Whilst this might sometimes be appropriate and even necessary, it jarred with the natural and conversational style of the dialogue. Some backing tracks could have been better suited the natural tessitura of the performers.

Virginia Kamino sang with strength in “Opening Up” and was supported by some solid ensemble harmonies. Miki Browne is always a delight. Her breath control is excellent, her timbre is beautiful and her tone is even. Her performance of “Just a Housewife” was emotionally resonant. Browne told the story within the song. There was a sense of journey, challenge and resolution that should be transmitted in every solo. Excluding, perhaps, the most trivial of production numbers, a song should be advance plot, extend character and contemplate issues of conflict and aspiration. Not every soloist achieved this.

Elise Bagorski is an excellent comedian who uses her singing voice effectively. Andromeda Smith has a lovely tone. Will Norris has a natural vocal talent. He had his work cut for him as the only male in the troupe.  An ensemble dominated by female voices presented some inherent challenges but harmonies were well managed.

The 60-minute show of a dozen or so numbers was certainly entertaining. There was evident camaraderie within the group, who were quite clearly enjoying themselves. The communication of this friendship and enthusiasm, manifested in the confidence to bravely “have a go”, vindicates the vision of Jo-Maree Courtney for Ensemble Musical Theatre Company as a safe space for adult skill development.  

The group rehearses once a week in Hobart and welcomes new members.

Anne Blythe-Cooper

Photographers: Kim Bright and Danielle Gilbert-Benyon