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.
Wednesday, July 14, 2010
Monday, June 14, 2010
My Top Ten Songs
After my last blog, something a little lighter.... and totally inspired by Nicole Molloy's blog on the same topic (that's the sound of me being a sheep...)
I couldn't possibly find a proper order for these songs so I'll just list you ten of my favourite songs (click on the title for a youtube link to the song in question)
After the departure of their most revered lead singer, Ian Gillan, and their brilliant bassist and songwriter Roger Glover, you could be forgiven for thinking that Deep Purple would just give up. Instead they hired David Coverdale and Glenn Hughes and kept right on going. The first song off of the first album with these two is quite simply one of the best songs DP ever did. The drums are like pounding cannons, Jon Lords throws in an amazing keyboard and Ritchie Blackmore, as per usual, blows the socks off of every other guitarist in the business. 6 minutes of white knuckle pounding rock...
One of my most favourite love songs ever. Katie has a beautifully fragile voice here. The string arrangement is wonderful- and the addition of the mandolin inspired. But more than any of that, it's the beautiful and haunting lyrics that get me every time. This is a wedding song if I ever heard it.
Oh yes. I'm going there. Have you ever sat down and listened to what this song is about? A father's final words to his daughter before she heads off. I always envisage he's alone and she's has turned up at his house and seen him by himself but instead of being downtrodden he gives her this beautiful piece of advice- always believe in your soul. There's nothing left for me to do, you're everything I had hoped you be. For a band in their mid twenties, this was remarkably mature writing. Tony Hadley has amazing vocal chops, his technique is flawless here (remember this is pre-Protools). Beautifully produced and performed.
There are so many ELO songs I could have listed here, but I'm going to go with this one, as it really is one their very, very best numbers. So bright, happy and catchy. You hear this once, you'll never forget it. This is the finale to side 3 of their "Out Of The Blue" album and it's the finale of their "Concerto For A Rainy Day". You can just hear the sunshine in every pore of this song.
Haunting, evocative and so brilliantly underplayed. Anyone who has followed me on facebook will know how highly I regard Kate's music. This song- one of her earliest- is a great reason why. How do you describe that moment when you wake up next to the person you love? That moment when nothing else in the world matters- it's just you and them. Kate does an absolutely brilliant job of describing it.
This song is just one of my all time favourites. The lyrics make no sense at all, but in this case, who cares? This song has a brilliant vocal performance from Ed Kowalcyk on top of some outstanding playing from the rest of the band- added in to that is a great string arrangement. I just love the way it dips down quietly and then explodes out of the blocks with an almost primal scream. Crank this one loud and proud...
Long before John Simm's series of the same name propelled this into the musical stratosphere it was one of my favourite Bowie numbers. What an amazing vocal performance (stretching nearly two octaves) and beautifully arranged, produced and performed. This was Bowie at his absolute creative and artistic peak.
This song is one of those numbers I loved the second I heard it. From the moment the bass kicks in with a brilliant riff this hooks you in. Jon delivers things with a powerful punch (as usual), Richie Sambora chugs along for most of the song and then nails a fantastic solo. This was a remarkably great period for Bon Jovi. The whole album is brilliant but the title track for me is one of their finest ever.
Again, so many Queen songs I could have picked, but it's this one that sneaks over the line. Why? Freddie Mercury proves why he is the greatest vocalist in rock history. Just an all out rock pounder. I swear Roger Taylor sounds like he's about to break cymbals during this one. Brian May is in outstanding form too. The production is brilliant as well. loved this song from the moment I heard it as well. Yes, THAT'S why I picked this one over the others...
Another rock classic that has embedded itself into my subconscious. The drums don't pound, they BATTER. Bruce Dickinson shows amazing vocal chops and it's all capped off with a brilliant guitar solo in the middle. This is a Maiden classic. And a fitting end to my top ten list.
Friday, June 11, 2010
Here comes that feeling again.....
This week I started planning my move to Melbourne. To be honest, I'm scared witless about the whole thing. Everyone keeps asking me if there is anyone I know over there- and yes there are a few friends that now live over there- but none I'd want to mooch off of for a few months while I find my feet.
But there's also someone else living there....
To tell this tale (probably one of the few deep regrets I have in my life) we have to go back to 1998. I was 24. I was the rehearsal pianist for Mayfair's brilliant production of "Sweeney Todd"- it was how I first met Tim Sexton. It was also where I first met Rochelle.
Originally she was just going to be in the chorus, but then our original Johanna had to pull out and Rochelle became the new one. She was inexperienced, an ok singer....and absolutely drop-dead, gob smackingly beautiful. Both physically and mentally.
Of course, being the rehearsal pianist I had to spend a lot of time with Rochelle while she learnt her part. Oh how I ached to hear the magic phrase from Tim- "Rochelle, let's work on your bits while we have a moment".
I should say that I was a total professional. I assumed she had some boyfriend tucked away somewhere so I just thought "Ok Rodney, read your music, do your job...it'll pass". It didn't. Then after one rehearsal she came over to me and hugged me and said "I'm glad you're playing". I was a jibbering mess. What I meant to say was "Why thanks Rochelle, that's really sweet of you". What came out was a new language- I think it was a hybrid of Swahili and Mandarin Chinese. She laughed. I laughed. She left. I had to start breathing again.
For the next two weeks or so I tried to be more social with her, all the while reminding myself that this woman was more than likely off the market, when during a conversation she casually mentioned that she hadn't had a boyfriend for a couple of years. That mysterious language I created? Yup, came back again.
Now before I continue on here, I should point out that I have never been that lucky with the ladies. I don't really know why. If I was being brutal to myself I could say it's because I'm a fat, ugly git. I don't think too many women think of me like that but I'm pretty certain none have seen me and immediately thought "hubba hubba" (or words to that effect). I have never found it easy to talk to attractive women. For some reason I get very self-conscious and as a result I probably come across as either a try-hard or desperate. Or both.
But with Rochelle it was different. I was worse. I seriously could not string two sentences together. I was so damn in love with this girl that it totally and utterly screwed with my mind. It was the first time I was truly in love. I didn't realise this until about halfway through the rehearsal period when I found myself watching her every move and just hoping and praying she would spend some time with me. It was pathetic.
I'm glad I don't have a TARDIS- or some other time travel device- because to see me act like that would be embarrassing. I honestly have no idea if the rest of the cast (which included her brother by the way) noticed it.
One night I had to ring her brother (honestly!) and she picked up the phone. We talked for over an hour. Anyone that has called me on the phone will know what an absolute miracle that was. I soon convinced myself that she was, at the very least, open to going out on a date with me. All I had to do was ask. So I started to psych myself up.
Days turned into weeks and soon the season was upon us. I could see the window of opportunity rapidly disappearing. Oh I'd love to tell you that I summoned up the courage to ask her out. But I didn't. The only thing we ever did together was go and see B*Witched together at the Saturn Nightclub (It was promo thing- I won two tickets on the radio). No dinner, no coffee afterwards. Just the show, a hug goodbye and that was it.
You sad, sad, sad, pathetic man.
But the worst was still to come for my already fragile psyche.
She auditioned for State Opera and didn't get in. I'll never forget the email she sent- "I didn't get in. that does it! I'm moving to Melbourne!". And she did.
"That's ok," thought I, "I'm sure she'll keep in contact". Well she did for a little while. And then she told me about her new boyfriend she met over there. My heart sank. The final nail came when I rang her and her boyfriend picked up the phone and hadn't realised it had connected to me- "It's Rodney" he said. "Oh...hmmm....he can leave a message" came her response. That was a conversation I wish I hadn't heard. I silently hung up the phone and slunk away to my bedroom. I listened to Mahler- as I often do when I'm depressed- and even the beauty and majesty of his music failed to lift my spirits. For a very long time I couldn't even bring myself to say her name for fear of losing it completely.
What if I'd actually grown a pair and asked this girl out? What if we'd become a couple? Would we have moved to Melbourne together? Would we have moved in together here? Marriage? Kids? God only knows.
I'd love to tell you all that I learnt from that experience but I really didn't. In fact I think it burnt it into my psyche that I'm simply not able to ask anyone out.
I don't have very many regrets in my life, but that is by far one of the biggest.
Somewhere in Melbourne she's living with her husband (yes she got married a few years later) and, presumably, kids. She probably doesn't even remember me now. I don't know if that's a good thing or not.
I think it is....
Monday, June 7, 2010
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).....
Friday, May 28, 2010
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.
Sunday, April 25, 2010
Sydney (Part 2) and beyond
It occurs to me that I haven't yet finished my ruminations on my Sydney trip and the subsequent Adelaide performance of Mahler 8 so I think I need to finish that part of my blog before I can officially "move on".
When I last wrote about the trip I was almost at performance stage. I think it was on the Thursday of our first performance. I wasn't feeling very well- my throat had finally succumbed to the humidity and constant singing of the week. However- I made it through our first performance and was relatively happy with the both my own performance and the performance as a whole. There's something very special about singing in the Opera House. It may not have the nicest acoustics, the lights look like giant toilet seats, and the seating looks very 70's, but it is still an amazing experience.
On the Friday we did a what is known as a "patching call"- where any bits that didn't quite work we resang to an empty auditorium (the performances were recorded for a cd to come out later). During the run of that my voice completely went dry and I started coughing. I went home early and rested. Fortunately by the time the following night rolled around I was ready for action.
It was a major event in my life. After the nearly 90 minutes running time the Sydney audience leapt to it's feet and cheered as one. It reminded me of standing onstage at the end of the Ring cycle in 2004. Just one of those moments that lives with you forever I reckon.
So the musical side of the trip was definitely brilliant. Working with the SSO and Vladimir Ashkenazy was an amazing experience. I don't know if I'll ever have that experience again to be honest. The professionalism of those involved was wonderful, and we were- for the most part- treated wonderfully.
Probably the only downside for me was the expense of it all. We didn't get paid for anything and we did this off our bat. The public transport costs alone for the week amounted to $120! Not to mention buying meals, cough lollies, etc. This was really the only downer for the trip (well, that and my voice caving in on the Friday then getting all those lovely blisters).
Arriving back in Adelaide, we went back into the final rehearsals for the Adelaide performance. It's hard to go back a step having had such a buzz in Sydney. many of the touring party felt like it was superfluous.
The Adelaide performance was a lively and energetic one. Arvo Volmer had a great concept of the work (even if a little hurried), and the ASO were as good as the SSO. The soloists were perhaps not as strong a lineup as in Sydney but they were still good.
The only letdown was the venue. The Adelaide Entertainment Center is great for rock concerts, Disney on Ice, WWE wrestling and the like, but for the nuance and dynamic contrasts of Mahler (or any work from the classical repertoire) it was like playing in a tin shed. Funny, because that's exactly what the AEC is....
Oh sure, they used mics and foldback but it was just not the same as the feeling of hearing the organ rumble under your feet and this sense that you were part of a greater whole. Instead it felt like there was me, about five people immediately around me and an orchestra in the distance. It was a bit of a shame really.
One thing though that Adelaide did have over Sydney. A decent cast party. Yup- in Sydney the choir had to buy their own drinks and food at the thank you party put on by the SSO. That's right- NOTHING was free. (Apparently we were supposed to get some photographic souvenir from the event but it hasn't shown up yet- two months after the event). But at the Adelaide gig we got free drinks and nibbles. Wine, champers, Coopers, Soft drink, all free.
On looking back over the whole thing I feel immensely proud of myself for the effort I made in learning this work. It's an amazing piece of music- one I never thought I'd sing. I will walk away from this whole experience with the joy of Mahler renewed in me yet again....
...not that it ever left me to begin with.
Friday, April 2, 2010
Dear Sir Andrew.....
Sir Andrew Lloyd-Webber
C/o The Really Useful Company
22 Tower Street
London
WC2H 9TW
Dear Sir Andrew,
You don't know me, but I have been a loyal follower of yours since my mother bought home the original London Cast recording of "Evita" when I was barely 6 years old (You know the one?where the lady playing the title role gets second billing to David Essex?). I also doubt I am the first one to say that your musicals inspired me to become involved in theatre. Living in a relatively small city you probably haven't heard of (it's called Adelaide, in Australia. Google it if you're not sure) I have found myself conducting and taking part in the vibrant theatre scene here. This has meant conducting your shows and watching several more. We have some pretty talented people down here who often have some great ideas for pepping up older shows (just keep an ear out for an upcoming production of "Superstar" where the leads may or may not be female. No I'm not kidding. Jesus as a female. Think about that for a moment.....) so I'd like to think that I could help you with "Love Never Dies".
Now I must say from the start that I'm not going to slag it off. I don't mind it all (and that's without seeing the show) but I do feel that there are some corners and problems that maybe you and your production team might want to reconsider should you decide to take the show back to the workshop (so to speak) ahead of the Broadway and Australian runs. Now I'd never pretend for a second that I know more about what makes a good show than you do- you're the one with the knighthood and rather posh house after all- so whether you regard these suggestions or not I leave entirely up to you.
Firstly, this show is set 10 years after the original "Phantom". When Michael Crawford first performed the role he was 44. Ramin Karimloo was 31 when he premiered in "Love Never Dies". Oh, I know he also sang in "Phantom" to great acclaim, and I'm quite happy to accept that Phantom might be in his mid-thirties in "Phantom"...but surely it would be amazing to have someone sing the Phantom who actually LOOKS like he's had the life experience and sounds it. Did you see Anthony Warlow in "Phantom" recently??? He'd totally own Karimloo in "Love Never Dies" and he'd pull off the role with enormous punch. Can't wait to hear him sing "'Til I Hear You Sing Once More". On that same point, why does Christine STILL sound like a young and naive teenager? Surely she's had slightly more experience after ten years of marriage to Raoul? Yet again, you pick someone extremely young to play her in the show (both Sarah Brightman and Sierra Boggess are/were around the same age when they premiered their respective Christines). I think you seriously needed to get older people in these roles. Maybe think back to great Phantoms and Christines of the 90's and see what they can do? On the plus side, it's great to see Meg Giry get a much meatier role this time around and play, along with her mother, such a vital and important role.
As far as the music itself goes I generally found the music to be melodic and well written with two exceptions. Your song "The Beauty Underneath" sounds like a cast off from "Whistle Down The Wind"- not really in the same style as "Phantom". Why you quite chose this style for this particular number in this particular show I'll never quite know. I'll also never quite know why you chose to musically end the show the way you did. To have a flute line that just peters out to nothing (and not even on a tonic note) seems a really bizaare way to bring the curtain down. Mind you, given your track record of ending shows like Superstar, Evita and Woman In White- and indeed the original "Phantom"- on a quieter and unfinished chord it perhaps shouldn't be too surprising. I can't help but wonder if you're paving the way for a third and final entry? Believe me Sir Andrew, I have defended your musical honor more times than I care to imagine. I still believe your scores for "Aspects of Love" and "Sunset Boulevard" are two of the finest compositions you have ever written and musically as rich as anything written by Broadways finest.
In conclusion- as I know you are an extremely busy person, as is your publicity person who'll probably be the one who actually reads this- I hope you take the time to tinker with this show. There is a lot more to recommend this show than others might have you believe. I'm also quite happy to waive any rights, fees or royalties for my services today- think of it as a tiny thank you for all the years of enjoyment your shows have given me- and hopefully will continue to give me.
Yours,
Rodney
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