Mahler, Walking and the Leader Of The Pack

This fitness kick I'm on has been really helpful. I can't believe that after a solid fortnight I'm still sticking at it. Mind you, not only did I have to buy a $190 pair of sneakers but a $30 pair of socks to make sure my walks didn't end in agony every time.

Tonight though was something special. I started walking as the sun went down and my iPhone was playing the opening strain of Mahler's Ninth Symphony. I walked along a straight stretch of road that I have walked a few times before. As the first movement gave way to the second I suddenly realised that I had been so immersed in the world of Mahler that I had not noticed that the sun had gone down and I was now walking in darkness. I started heading home. I didn't care about the dogs barking or the sound of the traffic and as the second movement gave way to the third I decided to walk until the end of the movement bringing my walking time to around an hour. I didn't feel tired at all. To be honest, I could have probably walked for the entire symphony but sense prevailed. During that third movement I looked up at the sky and saw the stars for the first time since I started walking- with Mahler's glorious end of the universe soundtrack playing I actually stopped to take in a big lung full of air. Just one of those moments when you sense something bigger out there. There's an endgame in here somewhere, I can just sense it.

I have also been trialling contact lenses again. I had tried them about 15 years ago and found them really uncomfortable but the pair I have in now are nothing short of amazing. After a while you actually forget they are in there. I could definitely get used to wearing these more often.

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I must say I am having a huge ball playing for "Leader Of The Pack" for Northern. It's a great and friendly cast with some old and some new faces amongst them. Always a pleasure to work with people like Michelle Brow, Gus Smith, Mel Smith and Kate Dempsey and to be conducted by the wonderful Kim Clark is an added bonus. It's a great little band, too. We have three performances this week and three next week. If you are up Elizabeth way then go and see it.

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.