Zest Theatre Group. Victor Harbor Town Hall. 2 Feb 2018
It couldn’t be more ambitious. A major modern Broadway musical produced by a regional amateur theatrical society.
Yet Zest has pulled off a triumph.
Not for the first time, this Victor Harbor-based company has found talent resources of sufficiently high calibre to carry such a major production.
Lily Van Rhoda is a mere schoolgirl - and yet she has the goods to give the great Kristin Chenoweth a run for her money in the role of Galinda, the good witch. Van Rhode is a pitch-perfect petite powerhouse. With a big Broadway voice, she charms, she can act and she is funny. She will go far. Far.
Then there is Bec Pynor as Elphaba, the wicked witch. Pynor is a music graduate now doing a teaching masters at Flinders. Not even the gruesome greenface can impede the strength and emotional integrity of her characterisation let alone the artistry of her singing. She’s superb.
Naturally, Zest does not have the budget and facilities of the big musicals' world but with a wealth of hard work, talent, determination and the backstage sophistication of Graeme Mountstephen it has embellished this production with good costumes and some sterling effects. Elphaba’s elevation to the gods is breathtakingly spectacular.
The plot is Gregory Maguire's Wizard of Oz prequel idea of the two witches going to school together and becoming friends. There’s lots of back story, love interest and characters familiar and new - from the Wizard of Oz himself to a powerful sorceress called Madam Morrible. Stephen Schwartz has written the music and lyrics from the Winnie Holzman book. It is not the easiest music in the world.
While most of the supporting cast has a good handle on its complexity, cues and scene changes are the weak spot in the show and there are a few pregnant pauses.
Zest producer and mainstay Terry Mountstephen plays the prominent role of Morrible and brings not only seasoned maturity to the cast but also the pleasure of her fine stage voice. Michael Harris as the old Wizard is sometimes less audible but a good presence. Molly Peier develops nicely as Nessarose, the wicked witch’s crippled sister with Josh Harvey and Tom Richardson providing good support as the two main male love interests.
Then, under Peta Bowey’s efficient direction, there is the cast of thousands - a terrific chorus and dance troupe.
All told they’re a keen and hard-working cast.
Put together with the star quality of the principals, the show is quite an accomplished treat.
Samela Harris
When: 2 to 11 Feb
Where: Victor Harbor Town Hall
Bookings: trybooking.com
shake & stir theatre co and Queensland Performing Arts Centre. Her Majesty's Theatre. 21 Jan 2018
If it's kept you up at night wondering what ever happened to Danny Zuko and some of his Burger Palace mates after their appearances in Grease, this is the ticket for you.
The show should more precisely be entitled, (Don't Wanna Be An) American Idiot, although the trio of malcontented suburbanite protagonists come very close to it. American Idiot is the opening number and the title song of California's Green Day's seventh studio album which was released in 2004. The album, billed as a "punk rock opera" by band members Billie Joe Armstrong, Michael Dirnt (as in dirnt, dirnt, dirnt...dirnt-dirnt, d-dirnt), and Tre Cool, focused on Gen X's "disillusionment and dissent with the Iraq War" and other notable mistakes by the Bush administration. But as there is still more and yet again much disillusionment and dissent, the version you must absolutely see in the final week of January includes visual and verbal slings and arrows thrown at Trump. American Idiot was adapted for stage by its first director Michael Mayer and the band, played Broadway for a year starting 2010. It had its Australian premiere in Brisbane in February 2017, and Adelaide is the first stop on a national tour this year.
The production plays through breathlessly and continuously for one and three-quarter hours. While there is much to recognise from rock musicals and anthems of rock songs gone by (Springsteen and The Who come to mind), the music is enthusiastic and current, and charged with plenty of energy. Three suburban mugs (ostensibly living with unseen parents and motivated with malcontent modeled on the band members themselves) plan to break out to the big city - only two of them escape domesticity. Will (Alex Jeans) is willed to stay at home by pregnant Heather (Ashleigh Taylor). Tunny (Connor Crawford) is further disenfranchised by the daily news and ironically his way out is to join the Marines.
You will never forget his dream scene with Kaylah Attard's aerially outstanding acrobatics as the nurse trying to bring him back from the brink. Bravo! However, Johnny, furiously played by Linden Furnell, is our main tragic. Not long in the big smoke, he gets mixed up with two things: a gorgeous acolyte named Whatshername (Phoebe Panaretos garnered a Helpmann Award nomination from the Brisbane production), and heroin, absolutely awesomely personified by 2014 ARIA nominee Adalita. Bravo! (Billed as Johnny's alter ego, but I didn't buy that). The story is chronologically recorded by the date, which preface letters Johnny the junky writes home, so they are not really bad kids, just mixed up and dealing with their angst. The chorus is flawless and Dance Captain Kyla Bartholomeusz is personality plus (Lucas Newland - choreography). Ladies, you will love the gutsy female characters that put their men on notice with notable alacrity.
American Idiot didn't win Tony Awards for Best Scenic and Best Lighting Design for nothing. While you have everything to look at and hear from the cast, the colourful and sonically coordinated visual images, and the functional two-storey inner city slum set (Westside Story comes to mind) ultra-enhance the action (Craig Wilkinson and Josh McIntosh - video and set respectively). Glenn Moorhouse led a driving band of two guitars, bass, drums and keys. iOTA makes a video appearance. Although largely down-and-out, the characters wear the hippest in grunge (Melanie Knight - costume design).
You don't hand out roles like this to just anyone and Director Craig Ilott has assembled a highly talented and motivated cast. If you have punk in your veins, do not miss this show. If you don't, wear earplugs and see it anyway. Standing ovation on opening night. Bravo!
David Grybowski
When: 19 to 28 January
Where: Her Majesty's Theatre
Bookings: bass.net.au
Adelaide Youth Theatre. The Arts Theatre. 20 Jan 2018
In the midst of a sweeping heatwave Adelaide Youth Theatre’s latest production, Shrek the Musical, still delivers – the experience only slightly dampened (pun intended) by the sweat rolling down the faces of the audience. This tight production under direction from Thomas Brodie Phillips is both exceptional and hilarious.
Strongly led by a finely-tuned orchestra under the stewardship of conductor Jennifer Trijo, it is clear that considerable effort has been invested by both musicians and performers alike. Trijo’s debut as a Musical Director is a resounding success.
In the titular role of Shrek, Ray Cullen has us laughing at his wonderful portrayal of the kind ogre. Cullen’s character development during the performance is a pleasure to watch. He has a nice singing voice but the Scottish accent wavers on occasion.
Rebecca Raymond as Fiona and Jack Conroy as Donkey both deliver A-Grade performances. Raymond, a beautiful singer, portrays a feisty Fiona balanced with key moments of vulnerability. Conroy’s Donkey is funny, full of energy and, at times, frustrating – a perfect portrayal.
Other stand out performances include Serena Martino-Williams’ vocal prowess as Dragon and Brady Lloyd’s devilishly camp portrayal of Farquaad. Lloyd’s characterisation strikes the perfect balance between ‘camp’ and ‘cruel’ and has the audience in hysterics. His movement on stage is extremely well choreographed.
Of note are Jasmin Teurlings as Gingy and Ryan Vandermyle as Pinocchio, both demonstrate beautiful singing voices. Vandermyle, one of the younger members of the cast, has a bright future in the performing arts. Teurlings interpretation of Gingy is reminiscent of the film, and brings back fond memories. Her performance is a highlight.
The show features some outstanding choreography by Shenayde Wilkinson-Sarti who has the performers moving with precision on stage; the large specialist dancing cast doing an excellent job. Show highlights include What’s Up, Duloc? and Morning Person which features a fantastic tap number with solos from Fiona and the Pied Piper, played by Kurt Benton. Freak Flag, a song that highlights the importance of one’s self-acceptance and that of those around you has exceptional dancing and the rainbow light display during the number reflects our country’s own recent significant changes.
Praise must go to the entire creative team, with special mention to Mark Oakley’s lighting design and Tuan and May Tran’s set design, construction and costuming. A few microphone issues niggle, but overall the production is technically great. Stage manager, Amber Forbes and theatre tech, Jason Groves make short work of the scene changes.
This heart-warming story is ably performed by a wonderful cast to an appreciative audience. The entire cast and crew can be extremely proud of an amazing collective effort after pulling together this fantastic show in such a brief period.
Go and see it, it’s well worth it!
Alex Bond
When: 19 to 27 Jan
Where: The Arts Theatre
Bookings: trybooking.com
Adelaide Festival Centre. Festival Theatre. 19 Jan 2018
It was quite literally a landmark event at the Festival Theatre.
The Walk of Fame Gala celebrated the embedding of the names of 130 luminaries in the riverside plaza walk, those who have trodden the stage of the theatre over its 45 years. It stands as a showbiz nostalgia salute which, with online voting for a large selection of stars, involved the approbation of much of the Adelaide citizenry.
Finally, the earthed stars had been officially revealed. Politicians made speeches and preened for photo ops with celebrities all glittering in the summer heatwave. The dear old theatre itself sported its deep new foyer carpets and the excited Walk of Fame Gala audience streamed in for a rousing variety concert to mark the day.
The use of big triangular blocks as stage setting, one dangling precipitously over the stage, had an oddly 70s aesthetic which made sense when it was explained that they reiterated the sail motif of the Festival Centre architecture.
In its way, the concert sang the old era, too; it was all very trad.
Jamie Goldsmith and the Taikurtinna dancers presented an arresting Welcome to Country in the half-light behind a spectacular art projection which featured the far-distant image of little Wright Island at Encounter Bay.
Then, in dramatic cultural contrast, there was Greta Bradman aloft on stairs, shimmering in a golden gown under a flare of blue lights. She sang opera from deep within the European tradition, Puccini, clear, high rich vibrato and very formal.
Not so with popular Todd McKenney who emerged as master of ceremonies, so full of beans that one felt he might almost pop out of himself. He teased the audience with a taste of Peter Allen and promised good things to come.
And the show rolled forth. Beccy Cole, in long black boots, did her beer-skulling routine and was hilariously self-deprecatory when not singing like a Country and Western angel. She’s a gem. She brought the house down.
The divine Nancye Hayes, in bright red slacksuit, belted out Broadway Baby and then a duet of You’re Getting to be a Habit with Me with her oft-times performance partner McKenney.
Children’s entertainer Peter Combe did his usual thing but with the wonderful onstage orchestra.
Slava Grigoryan’s exquisite guitar soothed the soul and was joined by Niki Vasilakis on violin with the Histoire de Tango and then, for something completely different, the lithe and muscular ADT dancers writhed and undulated in intriguing synchronous formations with a tall potted plant and an almost industrial soundscape. They were like verdant sprites. It was an excerpt of their Beginning of Nature program. It was mesmerising.
Rhonda Burchmore materialised, timeless and classic with her red hair shimmering in the lights. She and McKenney had a You’re the Best duet, McKenney still looking as if he wanted to burst into dance.
Adelaide’s most beloved actor Paul Blackwell had a tough call in the midst of the song and dance. Downstage and in Cockney character, he performed a period piece, a monologue about shallow but talented showbiz folk of the vaudevillian era. His description of the performing pigeons lady lingers in mind’s eye.
And the show rolled on with the splendid Zephyr Quartet amid the accompaniment. James Morrison made the rafters ring with his beautiful mellow jazz trumpeting, The only off note of this historic gala was, oddly enough, from Tim Minchin who treated the audience to a new composition, a very long song called If this Plane Goes Down. This unfunny, fear-laden song did not go down. His Matilda hit, When I grow up, did go down, however, and so did his duet of I Still Call Australia Home with McKenney. Finally, with a big ending of Rio, McKenney got to release a bit of the pent-up physicality. Applause. Applause.
And Adelaide's Walk of Fame was official, ready to take new stars as they rise.
Samela Harris
At its inception the Adelaide Festival Centre's Walk Of Fame included the following names:
WALK OF FAME ARTISTS
| 1973 Ernie Sigley Julie Anthony Peter Brook & Royal Shakespeare Company |
1974 Tristram Cary Robert Helpmann Daddy Cool |
1975 Elizabeth Cameron Dalman John Farnham Roy Orbison |
| 1976 Joan Sutherland Cold Chisel Merce Cunningham |
1977 Keith Michell Ruth Cracknell Rudolf Nureyev |
1978 Dennis Olsen Olivia Newton-John Ella Fitzgerald |
| 1979 John Gaden Dame Edna Everage Gene Pitney |
1980 Nick Enright Peter Allen June Bronhill |
1981 Janet Vernon Peter Goers Liza Minnelli |
| 1982 Mary Moore John Wood Debbie Reynolds |
1983 David Williamson Geoffrey Rush Joni Mitchell |
1984 Thomas Edmonds Hugo Weaving Richard Harris |
| 1985 Bobby Limb Anthony Warlow Kiri Te Kanawa |
1986 Nancye Hayes Robyn Archer John Denver |
1987 Gale Edwards Garry McDonald John Bell |
| 1988 Rosalba Clemente Peter Combe Georg Solti & Chicago Symphony Orchestra |
1989 Marilyn Richardson The Seekers Marcel Marceau |
1990 Paul Blackwell Anne Wills Eric Clapton |
| 1991 Shaun Micallef Gary Sweet Jacki Weaver |
1992 Jim Sharman Guy Pearce Eartha Kitt |
1993 Todd McKenney Noni Hazlehurst Carmel Johnson |
| 1994 Meryl Tankard John Williamson Michael Nyman |
1995 Douglas McNicol Cate Blanchett Slava Grigoryan |
1996 Patrick White Rhonda Burchmore Philippe Genty |
| 1997 Richard Bonynge Deborah Mailman Wesley Enoch |
1998 Graeme Koehne Brian Gilbertson Lenny Henry |
1999 Benedict Andrews Billy Connolly Troy Cassar-Daley |
| 2000 Jane Peters Chrissy Amphlett Bryn Terfel |
2001 Andrew Bovell David Campbell Bert Newton |
2002 Lucinda Dunn James Morrison Jimmy Little |
| 2003 Nicholas Braithwaite Clive James Graeme Murphy |
2004 Arvo Volmer Charles ‘Bud’ Tingwell Elizabeth Campbell |
2005 Ruby Hunter Tim Minchin Joe Cocker |
| 2006 Kasey Chambers Paul Kelly Mandy Patinkin |
2007 Johanna Allen Guy Sebastian Burt Bacharach |
2008 Beccy Colex The Umbilical Brothers Raymond Crowe |
| 2009 Jimmy Barnes Kate Ceberano Pinchas Zukerman |
2010 Hugh Sheridan Niki Vasilakis The Angels |
2011 Natsuko Yoshimoto Glenn Shorrock Paco Peña |
| 2012 Geoff Cobham Tina Arena Tan Dun |
2013 Leigh Warren Rachael Leahcar Carole King |
2014 Garry Stewart Nick Cave Pepe Romero |
| 2015 Greta Bradman Adam Hills Jacqy Phillips |
2016 Dami Im Hugh Colman Billy Crystal |
Leading Line Productions & Tony Knight Productions. The Bakehouse Theatre. 18 Jan 2018
Maude’s (Stefanie Rossi) hurried, frightened rush into her apartment, locking the door and leaning against it in relief, signals danger and entrapment before a word has been spoken.
When the insistent knocking and calling of a man on her door starts, the fear he is more than a good Samaritan claiming back his flashlight after helping Maude out with her car earlier, is like a deafening klaxon alarm.
He needs to make a call. He’s in between home, and where his partner may possibly be. So Maude lets him in.
The following hour unfurls as a power play between Peter (Marc Clement), who may or may not be an actor, a mechanic or anything and Maude, who is a doctor.
Peter is as imposing, needy and cruisy cool, as Maude is professional, polite and wearing thin on the hospitality front. Throw in the subject of a local crime spree against women by a subject dubbed ‘Toyer’ and things move beyond trivial banalities between strangers.
Director Tony Knight steers the production’s pace with deft care. He gives just the right depth and measure to playwright Gardner McKay’s quite disturbing yet illuminating exploration of the human capacity to seek control over people and circumstances in such a way that there is no consequence, consciously or unconsciously.
Both characters seek the upper hand, yet it is Maude who works hardest to separate fact from fiction. She fights to maintain her own inner balance in a surreal, terrifying, yet blackly comic situation in which a relationship between her and Peter is fashioned.
This relationship seems to be simultaneously predicated on inner emotional need and things as sinister as they are ordinary, depending on the circumstance minute to minute, action to action.
Stefanie Rossi and Marc Clement balance each other in performance brilliantly. Rossi’s confident, upper handed, intellectually sophisticated yet casual Maude has to work double time to compete with Clement’s roll out of Peter’s flash speed mind games, which owe their power to nothing more than well directed confidence and cunning.
These actors leave enough room for an audience to ask the hard questions that dive below the surface level of what they experience. Do I toy?
David O’Brien
When: 17 to 27 Jan
Where: The Bakehouse Theatre
Bookings: bakehousetheatre.com