On critics and criticism...

Nothing amuses me more than when actors get their hackles up at critics. I've seen tears and tantrums over the reviews handed out by critics. Inevitably these only occur when the review is a negative one or someone has been overlooked for awards nights.

I like to believe I am a reformed critic-basher. When I was younger (so much younger than today), I took pen to paper to write at what I felt was an unfair review of Mayfair's "Sweeney Todd" in DB Magazine. I thought I was so clever. I was wrong. The reviewer waited a fortnight to respond and when he did, he shot me down in flames. I'm sure the 15 people that read DB magazine got a huge laugh at my expense. He still writes reviews today (and has a penchant for quoting the entire works of Douglas Adams or Charles M. Shultz on their facebook page) and I learnt a valuable lesson. In the words of Tim Sexton "Don't argue with a critic- you'll never win".

What bought this up is a comment that sparked a massive debate on the Adelaide Theatre Collective FB group. From what I can gather, two "amateur" actors were nominated in a "professional" category and it raised the ire of some people. The initial comment was quite brutal in its assessment-

" Hmmm... Concerned that Santos "Exploitation Managers" earning over 150kpa have the gall to call themselves "theatre critics"! Such critics have become the "judges" of theatre companies and productions who often receive NO or LIMITED funding. Their criticism exhibits no practical or even theoretical expertise about theatre. At best it expresses personal opinion with an uber middle class view. At worst it simply shows up their own stupidity and ignorance. How would they like it if all us thespians turned up at Olympic Dam to tell them we didn't like the way the rock strata had formatted? Ignorant they would say... Well yes. My point exactly. Please, can we make our theatre critics credible? Could they at least know the difference between Ionesco and iron ore?"

That started a cavalcade of responses- 168 (at the time of writing) to be precise. You'll need to not only take a lunch break to read through it all but also bring a dictionary and have google on standby.

As I've gotten older, I've come to really understand critics. I've had good reviews and bad reviews. The funny thing is, when you step dispassionately away from the work you are presenting you realise that the critics are usually right. Yes, sometimes they can be as tactful as a sledgehammer to glass, but quite frankly all I can say is suck it in.

People whinge that there are far too many internet review sites (some even suggesting that they only exist so people can get free tickets- oh the outrage!), but here's some food for thought- barely any member of the general public reads them. The only critiques worth "bums on seats" are the ones written in print media and even then most people won't hinge their purchase of a ticket on a single opinion from one person- certainly not in Adelaide anyway. I have seen shows sell-out DESPITE bad reviews. I can't think of any shows where people have demanded refunds en-masse following a bad notice from the ATG or Barefoot Review websites.

Back when I was pilloried by this critic in DB, they stated the oft-used, well worn catch cry of the critic- "it's only one person's opinion"- and they are right. Maybe instead of whining about how under-qualified critics are, or how ignorant they are etc, maybe actors and producers need to look at their own product and take note of what they say. Look at the audience response and evaluate. Some theatre companies ask the audience for feedback (as if ticket sales were not an indication enough). The point is that critics voice one opinion and often they speak the truth on some level.

As for awards I can only say that it is incredibly frustrating when the show you've spent months on and poured blood, sweat and tears over is ignored nut then again, I don't believe we put on shows for the sole purpose of getting awards. It's wonderful when you get nominated but at the same time, rather than moping about who didn't get the nod why not celebrate the performances that did?

Critics are a necessary evil in the theatre world- they remind us of where we are and what we can do to be better. Do I agree with every review written? No. Do I think every critic that writes reviews is brilliant and should be allowed to continue? No. But I remind myself that I am in an industry that needs to come to terms with public scrutiny and criticism and that no matter how hard we try, we can always be better at what we do.

The outcome of the Facebook debate was a decision to have a forum to discuss the matters offline. Wow. I'm sure that will be riveting listening. Can I review that for an online site? It will not achieve anything except to molly-coddle a few actors with their noses out of joint. The other outcome was a post from the group's founder, Elena pleading for the debate to end and to remind us all of the reason the group was created- in other words "please critics, don't hang any negative crap on me- I didn't start it...they did!! (points finger furiously at the original poster)" If I sound a bit jaded on the matter then I guess I am. Publicly venting about critics always a dangerous game. I found out the hard way many years ago (and thankfully with few consequences)- maybe some actors need to learn from others past mistakes....

Dusty- Arts Theatre, The Met

The Met continue to break new ground for themselves with this jukebox bio-musical based on the life of Dusty Springfield. The same creative team that gave us "Shout!" have cobbled together the hits of Ms. Springfield within a script that is better than its predecessor but still not stellar.

Like the previous musical, you need a strong lead-one that can pretty much hold the show together. Fortunately The Met has come up trumps with Emma Gordon-Smith. Blessed with a gorgeous figure, killer smile and an amazingly free voice, she commands the stage when singing. Her acting is also more than up to the challenge and she makes the most of the often patchy dialogue she is given. She is also doubly blessed to be dressed in the professional costumes originally created for the show's original star, Tamsin Carroll. Her backstage dressers must be commended for the lightning quick changes they have to do.

Gordon-Smith is joined onstage by a strong band of actors. Belinda Price is wonderful as Mary O'Brien (the young Dusty), Adam Harrison and Fiona Aitken make a great comedy duo as Dusty's best friends Rodney and Peg and it's wonderful to hear Kaye Hamlyn sing again onstage in the role of Dusty's mother, Kay O'Brien. Max Rayner defies some atrocious wigs to bring several characters to life as well. Alisa James as Dusty's lover, Reno, does struggle with the meatier aspects of her character. She sings up a storm, but there seems little connect between herself and the character she portrays.

Jo Hunt has, once again, done outstanding work with her chorus- especially Dusty's backup singers. Her orchestra is generally well balanced but the brass struggled towards the end of the night and intonation got flatter and flatter.

Rebecca Stanley has provided some wonderful choreography to match the various moods of the show.

Director Amanda Rowe has done a great deal of work here and it shows, I hope The Met use her skills again.

Kudos must also be given to David Lampard for his set which is practical and colourful and to the cast who move the furniture around seamlessly, silently and effortlessly so that the action doesn't drop.

All up, this is a wonderful show with an enormous number of highlights- especially if you're a fan of Dusty Springfield.

Buddy- Arts Theatre, Marie Clark Musical Theatre Company

Marie Clark has a tough act to follow after its astounding production of "Miss Saigon" earlier in the year. It's fair to say that this little company has worked hard, very hard, to try and punch above its own weight for a number of years now. "Buddy" has some great positives and a few negatives.

The cast give it their absolute best. The show has many wonderful performances, headlined by the brilliant Dominic Hodges as the iconic rocker Buddy Holly. Hodges looks the part and does a pretty good impression of the man's unique voice. His accent is consistent and his charisma on the stage is pretty good as well. He may be lacking the absolute final polish on his concert persona but for the most part it is an outstanding performance.

The rest of the cast ably back him. Sophie Hamilton absolutely shines as Holly's wife, Maria Elena. Blessed with gorgeous looks and charisma, she makes a joy out of, what is, a fairly minor role in the show. Sadly, we are only granted a small hint at her amazing vocal skills. Brendon Liley does a brilliant job recapturing the vibe of The Big Bopper whilst Travis Rae delivers two solid performances as both producer Norman Petty and Ritchie Valens. Cara Brown, Jessica Knights, Kristin Stefanoff, Shay Aitken and Angus Smith all provide memorable highlights in their various roles throughout the night.

Victoria Beal has provided some catchy choreography while Emma Knights has an amazing little ensemble at her command (including Brody Green and Milush Piochaud who double as The Crickets extremely well). Greg Donhardt directs the show admirably for his first outing as director.

The biggest let down of this show is the show itself. One of the first jukebox musicals, it suffers from a lack of plot, poor dialogue and small scenes that mean a lot of blackouts and scene changes, especially in act one. It ruins the momentum that the actors develop and as a consequence drags the show to about 15 minutes longer than it needs to be. Also the creators felt that the only way to present Holly's songs onstage was to either show him recording them or performing them in concert. In a way it's more realistic, but it also limits where and when these wonderful songs can be heard. It's also true that the stage crew were a little slow with their changes which doesn't help things either. It's really the only thing that brings the evening down.

If you are a fan of Holly, or of 50's music in general (as most of the audience were on the night I was there) then you'll enjoy this retelling immensely.

The Quirks Of The Universe..... and Glee

I must be a sheep. I have as much wool around my skin as one and I tend to follow what my friends are doing. So two of my friends have updated their blog, another one has started one, so guess what this sheep has decided to do. Baaaaaa...

OK, so the last time we spoke in a non-review way I mentioned a move to Melbourne. That was the plan. The universe, however, seems determined to keep me here. After applying to Melbourne Uni for a Masters In Music (Conducting) course I auditioned for the course (with the help of a few friends) via a dvd. I sent it registered express post. It got there on December 2nd. After that I heard nothing. Not even a notification they got it. That's ok, I thought they have to sift through the many applications they have for all their courses. It will take time, probably not until the new year. I quit my teaching jobs thinking I would be in Melbourne (or close to leaving) by this time. January rolled on. Still nothing. Emails were sent. nothing. Phone calls (up to 4 different numbers in one day) were made and messages left. Friends tried to eke out of them some kind of timetable. Nothing. How does a Uni get away with this? Do they not realise people have PUT THEIR LIFE ON HOLD for this?? I figured if I didn't get in I would find out soon enough to consider other options including schools etc. January turned into February. School came back. Still nothing. I sent an email to the Professor in charge of the course- he replied that he was amazed that I hadn't heard as my application had been discussed weeks ago. He told me he would take it up with the proper people so I could "find out through the proper channels". Stuff the proper channels. I WANT TO KNOW NOW!!! Silence ensued. Finally, on February 25th (my birthday of all days!) I finally got what I had predicted I would get- the rejection letter. This was the email that came attached to the letter-

Dear Rodney,

Please accept my sincere apologies for the delay in notifying you of the outcome of your Master of Music (Music Performance) application. We experienced some difficulties receiving communication from the external assessor overseeing your application.

You will find details in the letter attached, which I have also sent via post so that you will be in receipt of a hard copy.

Again, my apologies for the time it has taken to respond – I understand the need to resolve your plans for the year ahead.

With best wishes...

What a crock of crap. "Difficulties receiving communications"? Give me a break. It's 2011. Not 1991. People have mobile phones, smart phones, laptops, emails, text messages, internet cafes etc. I find it hard to believe that anyone who helps assess masters applications can be difficult to reach unless they decided to spend a month with some order of Monks in the Himalayas or trek around Ahmish country. And don't even get me started with the disingenuous last sentence. If they were that concerned about my "plans for the year ahead" they might have considered an email "Dear Rodney, your application results have been delayed until etc...." I can't begin to tell you the burning rage I feel at this moment. It increased as I found myself- for the first time EVER- going to Centrelink and asking for help. I have joined the ranks of the unemployed for now. It sucks to me right now.

Having basically said my goodbyes I had decided to go to Melbourne anyway and try my luck there. Funny how the universe then throws you another twist- I got an offer from State Opera to sing in "Moby Dick". It's a well paid gig that will require me to get into shape (and possibly wear contacts). If I was in Melbourne I would turn it down- but I'm here. It would be stupid to waste this opportunity. So it looks like Adelaide will have to put up with me for a while longer. In the meantime it's about finding some work to cover the bills and get off Centrelink. Sigh.

It's times like this I wonder what some of my less talkative friends would say. I envisage Josh Penley would give me a dose of tough love- something like "Suck it up- don't be a victim, take your destiny into your own hands". Maggie Wood would say something beautiful, profound and totally moving (although being Scottish she may just as easily tell me to get my off my arse and stop whining like a donkey). I have many wonderful friends who, despite my flaws, still remain friends with me and I know they will be here to support me and help me. maybe I can get that concert back on track?

My life is like a roulette wheel at the moment and it's making me dizzy.

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In the meantime I've been catching up on "Glee". To be honest I had started to go off it after a very lacklustre start to the season. I slowly ground my way to episode 5 of Season 2 (The one based on Rocky Horror) and then stopped. All of my fellow Gleeks kept telling me that it got better. By the time I had started watching again I had a further episodes saved. I now only have two. Why haven't I been as enamoured with Glee this season? And what has made me keep watching??

Let's start off with the good things. The bully storyline. It hits (pardon the pun) so very close to home. Kurt (for the uninitiated) is a member of the Glee club who is openly gay and he starts to get harrassed by one boy in the school. What the producers did was start it out like the regular taunts of the school (including regular slushie dunkings) but then they ramped it up. At one point Kurt is told by another gay boy from a different school that he needs to confront them and show them he won't be a victim. It's one of those scenes where, as a victim of bullying myself, I get shivers down my spine. He runs into the locker room and starts confronting him at which point the bully kisses him. So this big, hulking boy is gay! The very next time we see him he threatens to kill Kurt if he ever tells anybody. Kurt is forced to change schools. For a show in a kid-friendly timeslot it's an amazing storyline and very confrontational. Many organisations in America have praised it for the shows handling of it. As I said, the whole scenario hits a little too close to home for me (being overweight is almost as much of a target for bullies as being gay it seems). Kudos for the producers for going down that path and sticking to it and especially to Chris Colfer who plays Kurt for delivering such a believable performance.

Actually I think most of the casting is still very good. I loved Idina Menzel as Rachel's mum and Kristin Chenowith as a drunken ex-school friend of Mr. Schuster. Also hard to look past Neil Patrick-Harris and this season we had Gwyneth Paltrow playing one of the best roles of her career. Clearly the producers are using celebrities well most of the time. Also the choice of songs, by and large, seems a good mix. It's true I don't like every single song they do but they seem to fit the situation right. One of my favourite moments was when Kurt realised he had been trying to do everything to please his dad and when he shrugs him Kurt turns to the camera and the end of "Roses Turn" from Gypsy starts. It's a perfect moment. The whole storyline had been working towards it. What was even better was that the scene following the song played out almost word for word like it does in the show.

But why is the show not quite grabbing em the way it used to? I suppose I have to suspend a lot of disbelief but there a couple of things that I feel push that a little too far even for me.

For example, why is the piano guy ALWAYS there? Doesn't he have a home? Does he skulk around the school all the time waiting for the next Glee member to break into a song (which of course he knows)? Do the kids actually study any other subject? Do they do homework? When do the band rehearse (you know the band that, like the piano player, seem to always be around when it needs to be?)? Who does all the arrangements so fast? It's like Rachel will walk into a room and say "I've just decided to sing this song" and the music starts. Even professional bands (let alone ones from high school) would struggle under those circumstances. Also, why do they have to use autotune on all the kids?? It's clear these people can sing, seems really fake to me- also the harmonies seem to be the choir setting on a keyboard rather than actual harmonies sung from real vocal chords.

Then there's Sue Sylvester. Don't get me wrong, I understand that she's a mean old thing (played expertly by Jane Lynch) but at what point does Principal Figgins fire her? (he did at the end of season one but then she was rehired). She fires a student out of a cannon!! A CANNON!!! Even if Figgins doesn't have the backbone to do it (and if that is the case how does he become a Principal anyway?) then surely the school board does... Also, how does she get by having a retarded girl as a secretary? How does a gym teacher even GET a secretary?? And how exactly does the Glee club (who have to resort to kissing booths to raise money apparently) afford all the lights and costumes for their numbers... bloody hell, Rachel and Gwyneth Paltrow did the final number from Chicago complete with dazzling light display and all!! Am I missing the point? And does it really matter? Glee is a fun show that has, at times, succumbed to it's own hype (like the Britney Spears or Madonna episodes) which in my books is a shame. It has the potential to be so much more.

Have I said too much? There's nothing more I can think of to say to you...

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.

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.

Curtains for the Curtain Calls?

The recent announcement of nominees for this year's ATG Curtain Call awards has come out. Doubtless over the next few days there will be many a congratulatory message left on people's Facebook walls and a few grumbling ones in status updates. (There's already one in my news feed!). It's times like these that make me wonder if the awards are a good or bad thing for Adelaide Theatre. This is not a slap against the ATG (Adelaide Theatre Guide)- they created these awards with the absolute best and noble intentions (even if their categories leave a lot to be desired- I'll never forget at the first awards ceremony the bile I forced down my throat when I heard one of the reviewers for the ATG declare to all and sundry from the podium that it was the onstage performances people remember the most so that's what's being honoured and nothing else- hence the reason there was no backstage awards like Best Director, Best Costumes- now there are a few minor dribbles like "Best Technical"- but rather the mindset that turned us into competitive and slightly narky theatre folk.

It would be incredibly naive of me to think that the awards were the reason Adelaide Theatre has recently become more separated than what it was. This is not a fault of the companies but rather some of the individuals that populate them. Now they have a reason to get narky ("Oh the Joe Bloggs company got nominated yet again- ho hum- no surprise given that one of the reviewers is on their committee", "Oh gosh what a surprise to see Fred Nerk nominated yet again, seriously he's SO overrated"). Before, all the recognition the hard-working folk of Adelaide Theatre got was a good review and at the end of the year a paragraph in the Oscarts. Now there's a CEREMONY!!! and AWARD TROPHIES!!!! and CLAIRE HOOPER!!!!

I realize this probably comes across as sour grapes because none of the shows I was involved in got nominated, but to be honest when I see what these awards have done to us it makes me sad. I just don't think we're ready for these awards. There have been a lot of simmering tensions for a while (long before the awards started) but these seem to bring out the worst (and best) in us. When the inevitable winners are announced, there'll be lots of backslapping and faint praise I'm sure.

Actually I think one of my MD colleagues summed it up perfectly when he said "Nobody supports anyone else these days yet expects everyone to come and see their shows". He's right (and I'm as guilty as anyone- although I do try and make it to a large number of shows throughout the year).

There's a lot more I could say on where Adelaide Theatre is going wrong, but you know what? It's easy to bitch so how about I finish by saying a few nice things about recent Adelaide Theatre and the people that populate it?

What I AM loving about Adelaide Theatre now is the daring of companies to do more recent shows that haven't made it to Adelaide's theatres before. Shows like "Curtains", "Honk!", "Spamalot", "All Shook Up" and "Dirty Rotten Scoundrels" (that's just this year!) have proved a boom for performers and audiences alike. 8 years ago you would have said that Adelaide audiences don't embrace new things. The large crowds that attend these shows actually prove that they do! This can only be good. I'll also say that the level and quality of the productions are of a very high standard all round (both on and offstage). That's something I LOVE about Adelaide Theatre. So what if we have a budget of only $15,000? Let's stage Miss Saigon! That "can do" attitude of companies is a healthy and good thing to see. It's also good to see the immense pool of young talent we have (again, both on and offstage). I don't think Adelaide Theatre will ever have THAT particular well dry up.

Time for me to take my bow (and dodge a few rotten tomatoes).....

Honk!- Marie Clarke Theatre Company- Arts Theatre

When Marie Clark do the right show it's a really good thing to watch. "Honk!" is such a show. This musical retelling of the ugly duckling fable is full of life, colour and pizazz. But what it also has is a big, big heart.

Director Megan Dansie has got the best out of her ensemble making sure the action or interest never waivers. Scene changes are smooth and, by and large, unobtrusive. Rachel Dow has done some remarkable choreography- especially in Act Two. Ben Morton's set design makes the most out of a limited budget and a small stage. Renee Brice has done an outstanding job on the costumes.

Headlining the cast is a beautiful, touching and totally believable performance by newcomer Scott Reynolds. This guy is one to watch. He never breaks character and has a wonderful singing voice to boot. Kate Brooker as his mother, Ida, also is a highlight of this production, even if her vocals are not quite as strong as they could be. Daniel Salmon's Bullfrog threatens to upstage just about anyone and anything not nailed down whilst Jethro Pidd- with a rather bizarre accent- puts on a great turn as the nasty Cat. Eleanor Stankiewicz also puts in a great performance as a cat in heat.

The ensemble is full of lively characters, young and old, and musically they are very, very tight. Musical directors Kate White and Joanna Patrick have done a great job with them, although the same can't entirely be said about the rather hit and miss ensemble in the pit which sounds like it needs a couple more rehearsals under its belt. However, both groups make do with what is a largely rather unremarkable score.

Nevertheless, these minor quibbles aside (and few technical glitches with the sound towards the end of the show) it is a wonderful show for both young and old audiences. Gosh it would be great to see a show such as this get recognised by the ATG in their curtain call awards. It deserves to sit alongside some of the best this state's local groups have done in the last year.