Spring Awakening- Little Theatre, Gin and Vodka Productions

Gin and Vodka Productions have pulled off an amazing coup getting the rights to this Tony Award winning show and then perhaps even trumping professional productions by staging a powerful, gutsy and thought provoking performance.

Co-directors Vince Fusco and Josh Penley have assembled an outstanding cast of amazing young talent and crafted a show that engages and involves the audience. The Little Theatre is effectively used (although inevitably there are masking issues at times) but the audience never feels left out.

Duncan Sheik's music is, with a couple of exceptions, fairly bland but the talented group rise above it and present it with as much belief as they can muster.

Fusco as the tormented Melchior pulls off one of the finest performances of his career and is ably assisted by Penley who gives it his all as the troubled and confused Moritz (despite looking too old for the role). Both have immense talent as well as acting and singing ability by the bucketload. They have channeled their own abilities into their younger cast members.

Of the guys Kyle Kaczmarczyk practically rules the roost in his role as the sexually charged Hanschen, fully comfortable with his homosexuality. Robin Breugelmans as Georg is also memorable.

The ladies are highlighted by the outstanding performance by Ashleigh Hauschild as Wendla. From her opening notes to the last she is totally immersed in her world. Blessed with gorgeous looks and a wonderful voice, she's the bright light of what is already a dazzling company.

This is not to take away from the rest of the young ensemble, who are perfectly cast as well and showing clear signs of not just understanding their own characters but the world they inhabit.

Jeff Lang and Fran Kennedy take on a plethora of adult roles with aplomb and help guide these troubled teens through their lives. Both adapt very well to the numerous roles they are given brilliantly.

Jonathon Bligh has done a remarkable job as musical director. Not only has he trained his cast superbly well but delivered one of the finest bands I've heard in amateur theatre in a long, long time. Tight, disciplined and in tune (hooray!) they are comparable to professional musos in their quality of performance.

Although there were some minor staging issues and sound problems dogged act one of the performance these were, by and large, rectified in act two. One other minor niggle is the expensive programme which doesn't tell you who plays what and seems really small for the price you pay.

This is a production that all involved with can be rightly proud of. It was an outstanding night of theatre and one that will resonate with everyone blessed to see it.

Wagner Knows

In one of the many documentaries of the Lord Of The Rings dvds, Sir Ian McKellan mentions that he reads the books every single year. At the time I remember thinking that was a curious thing to do. The books are long and can be quite tough to get through. Funnily enough, the same thing has often been said about my annual event- Wagner's Ring Cycle. I'm not sure when this habit started but practically every year I find myself going through the the vast cycle of operas in some way, shape or form.

For the uninitiated, the Ring cycle is a series of four operas written by composer Richard Wagner over the course of 25 years. They tell the story of the rise and fall of the Gods (most specifically Wotan- their leader) and the start of the human race. There's a LOT of music (nearly 15 hours worth) and it's all linked together by a series of "leitmotivs" that are either sung onstage or played in the orchestra (which numbers over 100 players).It's quite possibly the finest achievements in music ever. Certainly it's one of the most influential and controversial works ever written. I'm not going to go into a lengthy rave about this music but no matter how many times I hear this I always find something new- some nook or cranny in the score that I missed on the previous 20 outings through the Ring. The music itself never fails to move me. I've just recently finished watching a cycle filmed in Valencia in Spain which utilized a troupe of movement specialists (I'm loathe to use the term dancers because there was no real dancing) as well as state of the art back-projection to tell the story. At the end of the second opera the god Wotan bids farewell to his daughter, Brunnhilde. It's a sad and powerful moment (especially if you've been watching the action unfold for the opera and a bit) and even now the music that Wagner wrote for this moment is one of the most achingly beautiful melodies that I still almost burst into tears every time. Conductor Zubin Mehta states that he finds the remaining 15 or so minutes of the opera incredibly hard to conduct as he's fighting back the tears as well. It's wonderful when music can still elicit the same emotional connection everytime you hear it. it also shows that for all his faults as person (by all accounts Wagner was a massive egomaniac and a generally unpleasant man to be around) Wagner knew how to find that raw nerve and emotion musically. If you never listen to another opera (or series of operas) again I strongly challenge you all to take the plunge and discover this amazing work for yourself.

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From one extreme to another and I want to talk about the anonymous facebooker known as "Adelaide Knows". I find it curious that this person has almost succeeded in uniting the Adelaide Theatre Community. Anyone with half a braincell can slag off a show anonymously. If this person (whoever they may be) had any kind of spine they'd say their vitriol with their name attached. In the past I've come under fire for things I've either said outright or implied on this blog or on my Facebook comments. Indeed as a consequence I've occasionally written status updates only to delete them a few hours later for fear of reprisals. There are things I could say about aspects of local theatre that are bugging me but I find it unhelpful to do so- and more to the point it won't change anything except that people will start to see me as a whinging old so and so. Maybe this is what Adelaide Knows is trying to avoid. Well to them I say that's tough. It's bad enough when you slag off a show ("Dirty Rotten Scoundrels- yawn") but then you slag off individuals like Ben Finn or Hayley Horton- both of whom I daresay have done more for Adelaide Theatre then you EVER have- and you cross a line. I realize that my comments are not going to bring this mysterious person out of the shadows (indeed it will probably garner some subtle (or not-so subtle) reference in one of their status updates about how easily I am riled). In some ways it is sad that people are not allowed to speak their mind in this town but then again I was always taught the old adage that if you have nothing good to say then don't say it. Ah well, maybe by taking some fire it will divert their attention from other things. I believe that's called taking one for the team.

Who knows?

Jesus Christ Superstar- Her Majesty's Theatre, Gilbert and Sullivan Society of SA

The G and S society should be immensely proud of this achievement. Director David Lampard has created a thought-provoking and challenging production that will polarise people- and he'd LOVE it!

The decision to cast professionals Luke Kennedy and Danny Lopresto in roles of Jesus and Judas respectively caused a few grumbles and ripples but their performance totally justified the expense. Kennedy is an absolute revelation in the role. Vocally he nailed every note and his stage presence was second to none. This is a role that he will just get better and better at for sure. His performance of "Gesthemane" left the audience breathless. Lopresto certainly has the vocal ability and physicality to bring off Judas but lacked a certain amount of emotional connection to the role- certainly as the show went on this improved. Sarah Lloyde as Mary is another wonderful addition to the cast. Her characteristation of the role was pretty much bang on the money (although why MD Ross Curtis let her Mariah Carey-ise the vocal line in "I Don't Know To Love Him" thus killing the mood and meaning of the song entirely is beyond me).

The three principals are backed by the brilliant G and S chorus- all expertly drilled in their music and singing- and a host of wonderful little cameos throughout- including Kent Green as Herod (one of the show's highlights), Fahad Faroque as Simon, Beau-Daniel Loumeau as Peter and Joel Valenti as Pilate (quite possibly one of the finest interpretations of the role I've ever seen).

Lampard's curious decision to cast female priests just didn't work for me. As talented as all the ladies are the range of the roles was clearly too much for both Louise Messenger (as Caiaphas) and Vanessa Shirley (as Annas). The masculinity of the lyrics also seemed to be lost on Lampard and it didn't really gel for me- not too mention them appearing as the backing singers for Judas in "Superstar".

The sound design by Matt Curtis was flawless and lighting by Nathan Luscombe was outstanding. Costumes were generally good (although the priests looked a little like a cross between an ice cream scoop and a pez dispenser). Ross Curtis led a tight and well-drilled band.

Despite some reservations about some of the directing in the first act, these are relatively minor points. The enthusiasm of the crowd after the moving final 15 minutes of this production proved that "Superstar" in the right hands has the power to make people think. And at the end of the end of the day, that's all any director could wish for.

Goodbye, Dolly

I want to reflect on the last four months of my theatrical life.

I'm always asked by people on the final night of a show how I feel. My usual response is that it's always kind of mixed. On the one hand, it's nice to have my evenings back but on the other hand, I miss the people, I miss the friendships, I miss the sense of doing something that people enjoy doing and people enjoy watching.

In May I was faced with a choice. I was doing State Opera's Aida which would finish in August and then I had nothing lined up. It was a weird feeling so I thought about the shows that were coming up and I noticed that The Met was doing Hello Dolly so I thought I would audition. After viewing the film I realised that the only role I could realistically audition for was Rudolph- head waiter of the harmonium gardens. At info night the director, Hermonn, said he wanted someone in his late 40's. Well I'm old, but not THAT old. Then I thought well if I don't try out for it then I won't get the role full stop. To my surprise, I got the role!

That began something that has been a wonderful journey that I embarked upon. Yes there were hard times, a few cross words, some mumbled whisperings behind backs and a few clashes, but by and large it has been a really pleasant group of people to work with.

I think I have walked away from this having made some wonderful new friends who I will miss incredibly when I move. Some of the younger cast like Michaela and Sophia who always greeted me with a smile and a hug (except when Sophia "wasn't in a hugging mood") have always made me feel great. Guys like Brendan and Shay were great people to swap stories with and share a dressing room with. Truly great company. Gemma was the most gorgeous ball of energy who always greeted me with a loud "RODNEEEY!" and a back breaking hug. Lisa also became a good friend when I needed a little encouragement and help- another beautiful soul. It's also very hard to look past the other members of the ensemble like Victoria and Elle from the younger end of the cast to the more elder statesmen like Shirley, Nancy and Robert.

My dance partners Raelene, Courtney and especially Haidee showed tremendous patience and good humour when faced with my two left feet. Ah, how well I remember Raelene looking lovingly into my eyes whilst angrily gritting "left! left! left!" through her teeth. Poor Courtney never lost her smile despite going over one particular step with me more times then I care to remember and Haidee dealt with me by appealing to my twisted sense of humour and mentioned words like "scrotum" and "breasts" copiously.... All three are saints in my eyes.

Then there was the power coupling of Greg and Trish Hart. Never have I been so honored to share a stage with two of the finest performers I have ever worked with. Their professionalism, humour and ability were a credit to the production and a lesson to all the younger folks in the cast. I really hope they all learnt from the unspoken lessons they gave each and every rehearsal.

Behind the scenes I was actively encouraged once again by Carmel who managed to get me to look reasonably assured of my dancing (no small feat) and Hermonn who- German swear words aside- gave me enough wiggle room to fully explore this character I had. And then there was the Stefanoffs- MD Ben and his wife Kristin who not only welcomed me into the show but into their hearts as well. Two wonderful individuals (with a gorgeous puppy to boot).

Yes, I have made many wonderful relationships in this show.

As a final hoorah for me from Adelaide theatre it was more than I ever could have hoped for.

To all the wonderful people who made up the company from Dolly I leave you with the words of Stephen Schwarz from "Wicked"-

Who can say if I've been changed for the better,

but because I knew you I have been changed for good.

The World Goes 'Round, Arts Theatre, Marie Clark Musical Theatre

Marie Clark have gone a strange path for their second musical of the year. Instead of a traditional musical they have opted for a celebration of the wonderful body of work from collaborators John Kander and Fred Ebb. Kander and Ebb gave us some amazing shows like "Cabaret", "Chicago" and "Kiss Of The Spider Woman" amongst many others. Whilst these shows are represented, it's the other numbers in the show from their lesser known works that make this an entertaining evening.

Director Ben Saunders (who also designed the wonderfully versatile set) has assembled a cohesive and dedicated cast of performers who deliver many a wonderful performance. Musical director Gordon Combes has picked his soloists very carefully making sure the right people sing the right songs. Jenny Scarce-Tolley sings up a storm several times but never more so in the duet "The Grass Is Always Greener" (paired with the equally wonderful Maxine Morales). Nikki Gaertner-Eaton nearly manages to upstage her husband Chris Eaton (never an easy feat) in "Ring Them Bells" but the real standout is Omkar Nagesh who not only shows his serious side in "I Don't Remember You" but his humorous side in "Sara Lee".

Kylie Pedler's choreography works well for the most part even if the execution of the ensemble isn't as polished as it could be.

The band suffers from bad audio (always a problem when onstage). The drums couldn't be heard and there was practically no bass, whilst the acoustic instruments had intermittent tuning issues throughout the night. One suspects that with a few more performances under their belt, these problems will iron themselves out.

The sound mix was a little hit and miss on opening night and few lazy follow spots need to be tightened up. However, once these small issues are resolved this will be a very entertaining evening.

Auditions 101

You know I've sat in on so many auditions now I can't even begin to think of how many hours I've spent listening to potential wannabes.

There's something special about auditions...in fact, I think more people prepare for the audition than the role. With a new round of auditions starting the next few months I thought it might be an idea for me to give potential auditionees some vital tips on preparing an audition. If you want to study it further I'd heartily recommend Peter Mapleson's book "Auditioning For Musicals" (some of his song suggestions are a little out of date but the bulk of the book is timeless)

Song Choice

You've heard it mentioned on Idol/X-Factor many times, but song choice is critical. Many audition panels (especially for amateur groups) require you to sing a song from the show (usually one from the character you're auditioning for) so this eliminates the problem but if you are allowed to sing your own song then make sure it shows YOU off to the best of your abilities. To quote Geraldine Turner:

"Get songs that suit your voice, in at least three different styles and pay to have them well arranged and copied in your key. They should last you for twenty years of auditioning"

I'd also go on to add that the pianist is sight-reading so it's best to make sure your accompaniments are relatively simple. If you're not sure, ask someone that plays how hard the accompaniment is. If you really, REALLY want to do that fast piece of Sondheim then hire the services of a piano player to play for your audition (but always check with the company that it's ok to bring them along). I also want to re-iterate the point about the music being in your key! Sight-transposing is NEVER easy at the best of times let alone in the pressure-cooker that is an audition. It also is unnerving on YOU as a performer to have a piano part being lightly bashed and mutilated to within an inch of its life by some poor piano player who's struggling to remember what key they're in....been there, done that, bought the t-shirt....

Present! Present! Present!

"You audition proper begins the moment you enter the building and does not stop until you leave. The auditioners will be interested in you as a person as well as a performer" Derek Bowsill

One of my absolute PET HATES in auditions is people who are unprepared. People who rock up with no idea of the song they'll be singing, or the dialogue to be spoken. They look like they've just gotten out of bed (and dress accordingly) and spend the whole audition making excuses. I don't care how good you are, if you don't make the effort, neither will I. Dress appropriately, be well-groomed and polite the whole time...and this most importantly....NEVER say "sorry" in an audition. Don't make excuses about your voice, your cold, the lack of preparation because your pet bunny died etc. Let the panel judge you- don't give them a reason to reject you.

Be Open-Minded

You know, there's nothing wrong with chorus- or that small role with two lines of dialogue. Unless you're a top-line star you should never go in for only one role- always be open to a panel's suggestion for you to read for another role- or to be in chorus. But if you're insistent on only going for the one role then don't lie and say you'll take chorus- trust me, panels are like elephants when it comes to memory. they'll remember the people who said they'd be in chorus but then poo-pooed it when offered it.

Prepare Ye!

There are many excellent singing teachers out there. Go to one of them. My first singing teacher told me that everyone can sing- just some people need more coaxing and work than others. Do the effort and get lessons. take a drama course if you're so inclined (even take dance classes!). Trust me, the triple threat is more likely to get roles than not. If you're serious about strutting your stuff on stage then make it happen and put in the work!

Good Luck!

All Shook Up- Arts Theatre, Shedley Theatre, Chaffey Theatre- Matt Byrne Media

One thing that Matt Byrne can't be faulted on over the years is his ability to find obscure shows and put them on. In fact the current trend in Adelaide theatre to staging new shows is thanks in no small part to his willingness to give these shows a run for better or for worse.
A musical featuring a healthy serve of Elvis classics (and not-so classics) is almost guaranteed to get the crowds in and the vocal crowd at the start of the second week of shows at The Arts Theatre was testament to that. Early reviews indicated a number of technical glitches that dogged opening week. It's a credit to the technical crew that a lot of that has now been resolved. There are still a small number of incredibly slow scene changes and some bizarre lighting cues that spoil a couple of numbers and the chorus still struggles to be heard over the loud band and miked principals.
But another thing Matt Byrne always delivers is a dedicated cast, and this one is a beauty. Gavin Cianci struggles vocally against the might of The King and his pitching is an issue in places when singing (and he is not the only one), but his overall performance as roustabout Chad is a delight- full of swagger and cool (helped by his handsome looks and remarkable head of hair).
Melanie Smith is the pick of the singers- backing up her star turn in last years' "Hot Shoe Shuffle"- playing the role of lovelorn mechanic Natalie who becomes Ed- a male roustabout- in order to spend more time with Chad.
Dominic Hodges and Rebecca Plummer make cute couple as a pair of star-crossed young lovers whilst Gareth Wilkes takes the comedy trophy with his turn as nerdy Dennis. Heidi-Rae Abbey is wonderfully sexy as cougar Miss Sandra and Chris Bussey has a grand old time (and a helluva wedding dress) as Mayor Melinda.
But the absolute winners from this cast are Maggie Wood and Russell Ford as Sylvia and Jim. Wood gives us one of the best performances I've ever seen her in, full of sass, and full of heart with a wonderful act two solo whilst Ford times his role perfectly with the right amount of comic timing and tenderness.
Director Matt Byrne does his best to keep his mouth shut as Sheriff Earle but we all know that you can't fight fate....
The chorus are generally good although the male dancing is still very rough as guts in places. Sue Pole has done a great job yet again although some of the later routines lack the polish that the earlier ones do.
Mike Pitman's band has some balance issues with guitar and piano almost being drowned out by the brass section. Quite why Byrne decided they should be onstage is a puzzlement to me. They would be much better served in the pit where the singers can see the conductor and hear the band properly.
All in all though this is a fun night out with many wonderful tunes and some genuinely funny moments (although it must be said that writer Joe DiPetrio's script really gets bogged down in act two). The show could have probably stood to lose a couple of the act two ballads and some dialogue trimmed to make this an really exciting two and a half hour show instead of the almost three hours running time (not a fault of the production but more the original writers).
At a time when a lot of theatre is very dark and depressing it's always good to remember what theatre does best- makes us forget our troubles. This is one show that will do just that.

Author note: Full disclosure- I worked on this rehearsals of this show for approximately six weeks. This review was based wholly and soley on the performance given on the 13th of July at The Arts Theatre.