Crossing Delancey

The 1812 Theatre
Crossing Delancey
Director: Christine Grant

A romantic comedy about Isabelle, her grandmother, a matchmaker and the men in her life.
!812 Theatre constructed a three part set of Bubbie’s (grandmother) kitchen, a park and a bookshop where Isabelle works.
Isabelle was played by Becky Lee. A good portrayal and a good rapport with Patricia McCracken as Bubbie. The only fault, minor in respect of the story was Becky’s initial outfit. It was too bland and too bland for a New York girl in her own apartment.
Bubbie was played by Patricia McCracken who caught the character with finesse, keeping up the accent but a little too much wringing of the hands. But otherwise a good performance.
Hannah, the matchmaker was played by Janet Withers. Withers captured the essence of the annoying, fond of eating with expertise adding to the enjoyment of the production.   Sam, the prospective young man, was given a professional performance by Ian Johnson. A good performance of the quiet young man who did have more going for him than was realised by Isabelle.
Isabelle’s dream man, Tyler, an author who did not realise what Isabelle really wanted was played by Frank Shrever. Another good performance with good stage projection.
The company used the sets to full advantage moving smoothly from one scene to another.
An enjoyable evening of theatre which the audience has come to expect for The 1812 Theatre.

Talking Heads

Directed by Helen Ellis

1812 Theatre’s choice for the August season was Alan Bennett’s Talking Heads.
There are two plays or rather two monologues.
Bed Among the Lilies about Susan, the jaded wife of the local vicar who tells of her life as such.
Well portrayed by Carol Shelbourn as Susan. Shelbourn really captured the role as envisaged. As a monologue it was hard for the performer to bounce off another actor. Shelbourn hit the mark with her stage movements across the stage with spotlights as she moved and black spots when changing across the set. The opening set was a back stage montage of a screen representing books with the playwright’s name listed s author. Upon opening the back screen split and a kitchen was wheeled into place at centre stage. This was essential to the production and worked well.
The second story was that of Lesley and aspiring actress who could only get roles as an extra. But now she has achieved what she believes is her big break.
Angela Glennie was Lesley. A wonderful performance with Glennie portraying the role with aplomb and any extra in the audience (opening night there were at least two) could really identify with Lesley.
The set was a bedroom aboard a yacht and also doubled as an hotel bedroom. Lesley read a book on how to get on in the film and TV world and used the methods with varying degrees of success. Glennie has a good sense of comic timing and gave a good professional performance.
A successful opening night thoroughly enjoyed by the audience.

Breaking Legs

The 1812 Theatre

Director: Robin Miller

The 1812 Theatre’s May production was Tom Dulak’s Breaking Legs.
Set in an Italian restaurant in USA which is owned by a successful mobster and managed by his voluptuous daughter. Terence is a professional playwright who seeks funding for his new play from Lou the restaurant’s owner.
1812 Theatre’s set design by Robin Emmett is fantastic. The audience are at the rear of the inside of the restaurant looking toward the window which looks out on the car park with several cars in view. These cars are painted on the rear wall but look most realistic. The interior side walls are views across the ocean with a large painting of the statue of David on each side. The standard of the art is amazing, so much so you have trouble realising that you are not looking at the actual scene. 1812 and R. Emmett, well done.
 Lou Graziano, the owner of the café was given a first class performance by Geoff Arnold, capturing the accent and feels of a small time mobster and although ruthless was cowed by his daughter. Angie, his daughter was portrayed by Donna Pope who captured the essence of such a girl, determined to choose her own husband, no matter her prospective man or what her father thought. An excellent and amusing portrayal of such a character.
Cameron Smith was another member of the Family as Mike Francisco. A great characterisation of an American/Italian mobster just enough over the top performance to create the role as envisaged by the author. Steve Saul was the Family member Tino De Felice. The comparatively silent member who did the dirty work and commented when required. Saul also captured the right character and projected well.
The playwright and former teacher of Angie, Terence O’Keefe, was played by Ian Johnson. Terence had written a play about murder but had no real life experience of same. But, meeting up with the mob his life changed somewhat. Johnson gave a fair performance with some good expressions when the mob were discussing there friendship with Frankie about outstanding debts.
Matt Phillips was Frankie Salvucci, a small time mobster who did not pay his debts. Phillips caught the character with some finesse although only a small part, after all when the mob discusses friendship what does the audience expect.
The 1812 Theatre and Director Robin Miller are to be congratulated on a good evening of comedy and theatre.

Almost Maine

1812 Theatre

Director: Helen Ellis.

Almost, Maine is a story of people in almost a town I the State Of Maine, U.S.A. As one of the character’s in the play says “we got together to start a town but did not get any further so it’s almost a town”.
A series of vignettes dealing with couples and their feeling s for each other. It is set in a U.S.A. winter so the sacrifices the artists made for their art is to be commended seeing that opening night was between 25 and 30 centigrade and the audience were in light and short sleeved clothes.
There were six actors playing 20 parts which is a challenger to any performer after getting involved into one part to have change and not only once. The 1812 cast did a terrific job of same and the audience identified with each separate character.
Melanie Rowe played Ginnette, Marvalyn, Gayle and Woman. Rowe captured the character as envisaged and although they were so different she played each as written, giving a great interpretation.
Brett Whittington was Pete, Jimmy, Pete and Randy. Another fine performer giving realism to each portrayal and working well with his partner of each scene.
Sarah Millway was Glory, The Waitress, and Rhonda. Millway has good stage presence and carried her roles with aplomb.
Rowan Francis was East, Lendall and Dave. Francis projects well and gave the audience the correct feel for his roles.
Juan Modinger was Steve, Chad and Man Modinger gave a good performance in such varied roles and kept up the high standard of the production.
Kim Ryan was Sandrine and Marci. Ryan gave a good performance in both roles and was enjoyed by the audience.
The set was unusual. Opening scene was the two sides of the stage were black and covered with stars/ As the play is set in winter this gave a cold feeling. Also the play calls for the Northern Lights and each side the Northern Lights appear in different colours.
 The rear of the stage was something completely different to anything seen on a local stage before. One is familiar with the snow globes where you have a house or a tree or a scene in a glass ball and when shaken snow appears. 1812 created a giant snow globe at the rear of the stage. It contained a two story house and garden behind a seemingly Perspex ball and snow circulating around. An amazing and original stage setting.

Blackbird

1812 Theatre

Director: Chris Proctor

Blackbird is British slang for jailbird. It is the story of Ray a middle aged middle manager and Una twenty something meeting after 15 years. When Una was a minor and Ray was in his 40’s he was gaoled for having an ‘affair’ with Una.
The meeting was in the company canteen where Ray now known as Peter Trevelyan now works.
1812 set builders did a realistic factory type canteen with leftover sandwiches, and a complete mess both on the tables and chairs. The audience was on both sides of the performance making it a very intimate production. A hard play for the performers as they were on stage the whole time and it is a very emotional and physical story.
As Ray (Peter) we had Keith Hutton. Hutton captured the character with professionalism. He has good projection and very good rapport with Becky Lee who played the former 12 year old who Ray once had an affair.
Lee gave a wonderful performance capturing the fine points of a 20 something year old who could not or would not forget what happened that one dramatic night.
A story where one thought definitely it was the older man’s fault but as the story progressed it became clear that there are two sides to everything.
The performers showed this when the scenes changed from anger to affection, to love and back to anger. There was physical action with chairs flying across the stage fortunately with perfect timing so neither the audience nor actors suffered.
A small part was played by Rebecca Castleton  as Peter’s adopted daughter which led to suspicions from Una.
The evening opened with strings played by Lore Burns and also closed the evening.

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Love Letters / Later Life

Director: Horrie Leek

Love Letters
 a story of two people who wrote to each other from childhood till the death of Melissa.
The front of the stage was utilised by the use of two chairs and two stands. Melissa was on audience left with Andy on audience right
Melissa was played by Julie Campbell who started writing as a six year old to her kindergarten friend Andy. Campbell gave a great portrayal speaking as a six year old and as the play progressed growing older in both voice and actions. For a story of two people reading out their phone calls the two performers moved around in their own area, gave great examples of acting ability with voice and expressions suiting all the occasions warranted in the story line.
Andy was played by Nicholas Opolski giving a good portrayal and like Campbell showing the emotions of a child and then a young man finally as a successful politician in the USA.
Both worked well together and gave a pleasant and skilled evening of theatre.

 Later Life
A play set on a terrace of an apartment in a high-rise building in Boston. A recently divorced man meets up with a girl he met many years before on the Isle of Capri Italy.
What takes place on the terrace makes an interesting story The man, a traditional Bostonian, Austin, is at a party and his hostess brings out the girl he met years ago although at first he does not remember the occasion. The girl Ruth sets out to remind him successfully.
While they are trying to have an intimate discussion about the past and present various party guests keep interrupting with their own stories.
Austin was given a good performance by Geoff Arnold capturing the essence of the staid Boston banker.
Ruth the girl of many years ago was played by Mandy Murray.  A wonderful portrayal of a many times divorcee who can’t find happiness and whose friends have set up this meeting. Murray was a good balance to Arnold with expertise in some intimate scenes when other guests wander onto the terrace and interrupt the flow of intimacy. Sally, Matron and Esther were played by Cate Dowling Trask. Not an easy task portraying more than one character but Trask took it in her stride giving a good performance as all characters.
Jim and Ted were played by Andrew Ferguson who also gave a high standard performance as both people. Duane and Walt were played by Nicholas Opolski adding the standard of the production together with Katie Macfie as Nancy and Judith.
Roy, the man who wanted to eave Boston to go to Florida much to his wife’s disgust was played by Ron Paddon who really caught the role as envisaged.

The Farnsworth Invention.

Director: Shane Ryan.

Malvern Theatre produced the Australian Amateur Premiere of The Farnsworth Invention. A story of the life and struggles of Philo Farnsworth the inventor of television as we know it today and his struggles with RCA. A mixture of fact and fiction Director Shane Ryan and Malvern Theatre gave the audience a very good evening of entertainment.
The players were excellent so much so that the audience were more intrigued by the story rather than judging the standard of the players and production.
A play of 18 performers set in Russia, mid west America, New York and San Francisco. The stage was set with a two level at the rear and front by the judicious movement of the furniture covered the various settings.
The players' age ranged from very young to middle aged covering all ages of the characters.
The main two protagonists, Philo Farnsworth and David Sarnoff were played by Brad Lowry and Stephen Shinkfield. These two also alternated as narrators.  Both gave outstanding professional performances.
A very busy play with 18 actors taking a multitude of roles.  All capturing the roles that each were portraying. Compliments must go the actors, both young and adult on the Russian scenes where both adults and juniors spoke Russian. And after inquiries neither party can speak Russian, they, with the help of a coach succeeded magnificently.
With the number of actors and the number of characters each had to play it created a challenge for the performers who rose to same with great success.

The Arcadians

Gilbert & Sullivan Opera Society & The Malvern Theatre Company
Director: Robert Ray
Musical Director: Ben Kiley

The Arcadians is a musical play in three acts. First performed at the Shaftesbury Theatre London April 28 1909. First performed in Australia at the Theatre Royal Melbourne April 3 1910. First performed by Gilbert & Sullivan Opera Victoria June 25 2010.

Act One is set in Arcadia where Father Time arrives suddenly and confesses that he had forgotten all about them. He also tells them of the monstrous Londoners who tell lies. No Arcadians would dream of such a thing.
James Smith is flying overhead and Father Time arranges for his plane to crash in Arcadia. James is thrown into the Well of Truth and given the name of Simplicitas.
Two of the Arcadians, Sombra and Chrysaea decide to take him back to London and plan to covert the Londoners with his help.
Simon Cooper played James Smith and of course Simplicitas. A very good interpretation of such different characters. Cooper projects well and has a good sense of the comique adding to the standard of his performance.
Catherine Northey was Sombra a well done professional performance. Chrysaea was played by Vanessa Petrie. Northey and Petrie played well together and Petrie’s performance was also an excellent portrayal.
Father Time was given an amusing interpretation by Ron Pidcock who caught the finer nuances of such a character. Pidcock also played Peter Dooley with aplomb.
Act Two was set at The Askwood Races which was a forerunner of the Ascot Scene in My Fair Lady. Wonderful costuming the ladies in black and white naturally with large hats. A romantic sequence with Maria Smith falling for Simplicitas not realising he is her husband James Smith. Anna Castle gave a great feel to the role and worked well with Simon Cooper. Other romances were between Jack Meadows and Eileen Cavanagh. Jack, a jockey thrown from his horse was well played by Bruce Raggatt and Eileen was given a professional performance by Julia Harper.
Act Three was set in the Arcadia Restaurant in London where Simplicitas after becoming enamoured with all the ladies was thrown back into the Well of Truth and returned to his old self, James Smith.
A very high standard of singing, some enjoyable dance scenes and a wonderful evening of theatre marred only by a some what small stage for the size of the cast. This by no means hindered the standard but did seem a little cramped.

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The Australian Ballet

Romeo & Juliet

Concept & Choreographer: Graeme Murphy

Romeo & Juliet a lavish, colourful and amazing production from the hands of Graeme Murphy.
Amazing sets covering the world from Verona, Japan, India and the Sahara Desert.
Added with Hare Krishna, Carousel and Bollywood. Not a production for purists but an enjoyable evening nevertheless.
Following the original story the ballet opens in Verona with the Montagues and the Capulets threatening each other then drawing swords and fighting it out. Some wonderful choreography and good timing as the two groups tried to settle their differences. Also two girls had their own individual fight. A spectacular opening scene setting the mood for the evening.
At the Capulet ball that evening Romeo comes disguised and meets Juliet. A first sight they are smitten and can’t keep their eyes off each other.
That evening is the famous balcony scene. The Australian Ballet designers and set builders excelled themselves with this scene.
Amber Scott was Juliet and Andrew Killian was Romeo. A good match as both had a great rapport and gave the feeling of the young couple in love.
They added to the evening with their high standard pas de deux.
Brett Chynoweth as Mercutio gave a stirling performance together with the remainder of the company who really handled the unusual choreography with aplomb and the standard one has come to expect from The Australian Ballet.

British Liaisons

To celebrate the influence that British ballet has had on the Australian ballet The Australian Ballet chose British Liaisons for the Melbourne Spring Season.
A production of three ballets, Checkmate, After the Rain, and Concerto bringing back memories and showing newer followers of ballet its Australian roots.
Checkmate was danced on a chessboard floor with the Black Knights and the Red Knights fighting for the win.
A wonderful example of the dance and feeling both in the movements and in acting particularly when the Red Knight hesitates to kill the Black Queen who does not hesitate.
After the Rain
A ballet of bold movements and heartfelt emotion. Part one features three couples performing with each couples being a mirror to each other. Dressed in grey the movements were precise, evenly balanced and some of the turns and lifts left the audience with their hearts in their mouths.
A lovely balance of participants with all showing the standard that The Australian Ballet is justifiably noted for.
In part two a pas de deux with a change of mood and bright colours with the ballerina wearing pink and her partner bare-chested. A delightful number with skilful and well balanced dancing a good rapport and a number that shows grace, love and tenderness.
Concerto
A joyful opening is danced by a principal couple, Reiko Hombo and Yosvani Ramos plus soloists and corps. The two leads gave a remarkable performance and were not let down by the solos and the corps.
The stage had no set but the lighting gave the mood as was required in this production. The lighting dimmed for the second piece with a magnificent pas de deux by Juliet Burnett and Andrew Killian. They showed the apparent ease of such a number and flew across the stage with grace and dignity.
The last piece was a solo in the night your reviewer attended was danced by Lana Jones.
An amazing spectacle and wonderful example of the dance, Jones seemed that she just floated across the stage. The audience did not her to leave and there were three curtain calls. 
These three ballets were highly acclaimed by Melbourne audiences and some nights there were standing ovations and the public could not get enough.

The Merry Widow.

Artistic Director” David McAllister AM
Music Director & Chief Conductor: Nicolette Fraillon

The Merry Widow is one of the company’s first original full-length narrative works and has proved to be one of the most successful ballets that The Australian Ballet has produced in its 49 years.
It contains the essence of what people imagine ballet to be, glamour, grand sets, spectacular dancing, romance and a touch of mischief.
The 2011 production included all the above.
The opening scene was in the Pontevedrian Embassy with the dancers up and over desks, through the desks resulting from the realisation that their country, Pontevedro is bankrupt. The Embassy Secretary, Njegus was rushing around with more and more bills. Njegus was played by Paul DeMasson giving a great comic performance. The Pontevedrian Ambassador the Baron Zeta was given a great and comical interpretation by Colin Peasley. His young French wife Vallencienne was danced by Leanne Stojmenov in her debut in this role. A wonderful performance and her pas de deux with Yosvani Ramos, who is also making his debut in the role, was a sheer delight and showing the talent of the upcoming dancers of The Australian Ballet.
The merry widow Hanna Glawari was danced by Rachel Rawlins, her debut in the role. A marvellous performance, Rawlins showed the grace and dignity as called for and added to the evening with her standard of dance. Some good scenes with Robert Curran as Count Danilo Danilowitsch
Curran is repeating his role as the Count and showed the talent and the style of his ability. An expert in his dance and a great rapport with Rawlins.
Act111had a result rather unexpected. Upon the curtain rising on Chez Maxim the audience broke into applause. A magnificent set of such a famous French restaurant.
The Can Can was a delight to watch and the Pontevedrian dancing showed a Russian influence in their lively uninhibited number. Another audience appeal was the evident delight of the dancers enjoying themselves in the production.  

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The Story of Clara

Graeme Murphy’s Nutcracker
The Story of Clara.
Director: Graeme Murphy
Chorographer: Graeme Murphy
Creative Associate: Janet Vernon.
Guest Conductor: Olivier-Philippe Cuneo

Graeme Murphy has taken the story of Clara to Australia in the 50’s in a sweltering Christmas Eve where Clara a once famous Russian ballerina is struggling to her Melbourne home with her meagre shopping.
Her Russian friends arrive making their annual homage to the goddess of their youth.
The curtain opened to a typical Australian Christmas eve with some young girls skipping and a couple of boys tossing a football under the Hills Hoist.
On audience right was Clara’s two storied flat where her guests passed through the yard and n bringing presents and food. A small party developed with the Russian émigrés remembering and dancing. A good performance and projection from the more mature members of the cast.
Clara has flashbacks to her days in Russia and then excerpts of Nutcracker come into being with the rats charging across all wearing red armbands associating them with the Red Army. A large scrim was used with film clips of the Russian revolution and rats running around all interposed very successfully.
There were three Claras, Clara the elder was performed by Marilyn Jones, Clara, the ballerina was performed by Amber Scott and Clara the child was performed by Mia Heathcote.
All gave wonderful interpretations of their character. Amber Scott was a delight in her pas de deux with Adam Bull as the Beloved Officer. Bull was also the young doctor looking after the older Clara. As a couple both exemplified the Australian Ballet with their obvious joy of the dance and partnership.
Act 2 continued the story of Nutcracker with the Spanish, Egyptian and China dances. This was done as the Ballet Company with Clara were travelling to Australia, stopping over at each port where they watched the respective companies perform their dances.
A very good standard of the relevant dance thoroughly enjoyed by the audience.
An interesting version of Nutcracker and a history of Australian Ballet captured through the art of the dance and storyline of how the Russian Émigré’s arrived in Australia which led to the rise of ballet in Australia.

Firebird and other Legends.

The evening consisted of three ballets, , Petrouchka, and Firebird.
As the curtains opened to Les Sylphides the scene brought spontaneous applause from the audience.
An amazing scene of the dancers all in white the male dancer in black and white and the scene of a river flowing through the woods and mountains.
The standard of the dance equalled the setting and gave an enjoyable evening of classical ballet.
The second number was Petrouchka. A carnival in Admiralty Square St. Petersburg 1830 where the people are enjoying the evening. On the stage at the rear is a stage when the curtains open we see The Moor , a Ballerina and Petrouchka, a Punch like figure who dreams of the love for the Ballerina.
A busy stage with gypsy dancing, Cossack dancing and the three, the Moor, the Ballerina and Petrouchka giving a wonderful pas de trois.

The final number was The Firebird concept and choreography by Graham Murphy from Stravinsky’s The Firebird Suite.
The curtains opened to a stage set with eggs of various sizes out of which the evil Kostchei emerges.. He was danced by Chengwu Guo who showed the high standard that we have come to expect from The Australian Ballet. He wore a very good costume looking like a lizard with tail that would not be easy to dance in. The Firebird was danced by Lana Jones who gave good performances both as a soloist and in pas de deux and pas de trois work. Kevin Jackson was the hero Ivan Tsarevich. A good contrast to the girls showing the strength and yet grace of the male dancer. Danielle Rowe was Tsarevna with another fine example of grace and delicacy of the female dancer.
A good start to the Melbourne season.

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New York City’s most daring contemporary ballet company opened in Melbourne on February 26 at the State Theatre.
A production in three acts with music ranging from U2, American folk singer Odetta, Handel, and American Blues music.
An amazing evening of contemporary ballet. The only sets were a curtain and a chair. Lighting was excellent balancing the dancers with expertise.
There were no poor performers and unusual for contemporary ballet most of the moves were classical ballet movements which combined with the unusual for ballet music.
Act 1 was performed by the company showing the talent of such a group.
Act 2 contained five ballets opening with Gone a trio for three men performed by John Henry Reid, Phillip John Orsano and Joo Hwan Cho.   
An outstanding dancer was Joo Hwan Cho. He was relaxed, even in the most strenuous movements and looked if born to the roles.
Momentary Forevers with music from Handel and John Cage was given a good interpretation by Natiya Kezevadze and Juan. A fine example of pas de deux showing the high standard of the company.
The final number Rise explores the dizzy journey of life in all its complexity and ecstasy. The music was from U2 the first time U2 have allowed their music to be performed by a ballet company.
The dancers did justice to the music and amazed the opening night audience. As dancing the night was most enjoyable but! The music was far too loud and your correspondent wore ear plugs and still found it loud. After each interval many of the audience did not return. The sound was such that not only loud to the ears it was felt through the chest which cannot be too healthy. The music was recorded not live and I feel that sound engineers look to their operations and think twice about volume.

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The Kiev Ballet Tour arrived at The Palais Theatre Melbourne on the weekend of May 3rd & 4 th .

The Saturday production was Swan Lake . A traditional production in which the Kiev Ballet excels.

The company has some wonderful backdrops really giving the feel of the story.

The costumes were colourful and spectacular and when one realises the company is a touring company the maintenance of the sets and costumes must be difficult but very successful as evidenced on the production. A young company with great technical skills but could have a little more zest.

As Prince Siegfried Viktor Ischuk successfully showed the expectations of the character. A wonderful technical dancer catching all the movements as choreographed but could have given a little more zest to the character.

His partner Odette/Odile was danced by Natalian Domracheva. A lovely dancer with great ability and good acting performance. The pair balanced each other excellently and the pas de deuxs were a great example of the art of ballet.

The corps kept up the standard set by the leads and the audience enjoyed seeing a good performance of the classic Swan Lake .

The Sleeping Beauty

Sunday May 4 the Kiev Ballet presented The Sleeping Beauty.

Again the Kiev Ballet produced the classic production of the old well known story.

The scenes were well set with amazing backdrops and very colourful costumes representing the period. A complete tapestry of colour.

Aurora was danced by Tetiana Goliakova, a wonderful portrayal and a good example of a classic role performance. Sergii Sydorskyi danced the role of Prince Florimund. A great dancer with strength, agility and captured the feel of the classical role as the audience expected. A strong performer and a good partner to Goliakova.

Another asset to the company and who gave a wonderful, skilful and enjoyable performance was Shinobu Takita as the Lilac Fairy. A superb dancer in both the dance and acting. A light-hearted touch was given by Oleh Tokar as Carabosse the evil fairy who causes Aurora to sleep for 100 years. A fine comic performance skilfully done and a good favourite with the audience.

Two entertaining and well done performances were the entertainment with Puss in Boots and the White Cat. Excellently danced and obviously both enjoyed the characterisation as it was danced with such humour.

The Bluebird and Princess Florine was danced by Viktor Ishchuk and Natalian Domracheva. An absolutely wonderful pas de deux and solo performance from each dancer with both dancing good examples of the art of the ballet.

Both ballets bought back the classic style, the costuming and backdrops all added to the charm of the two productions and as the company is touring until June do make an effort to go.

This is the first tour of the Kiev Ballet which plans to tour every two years adding Australia and New Zealand to their list of countries to show the classic ballets and the talent of though a well established company the performers are young and a credit to the training and great ambassadors not only for ballet but for the Ukraine National Opera & Ballet.

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Camelot

MLOC Productions

Director: Judy Sullivan.
Musical Director: Danny Forward
Choreographer: Merilyn Young

MLOC Productions final production for 2011 was Lerner & Loewe’s Camelot the story of King Arthur, Guenevere, Sir Lancelot and the Knights of the Round Table.
MLOC’s set was\at rear of stage a castle wall where some entries were made via the ramparts, two towers and an open foreground.
David Higgins captured the role of King Arthur from a somewhat simple man on the eve of his wedding to the mature King worried about his plans and the feelings between Guenevere and Lancelot. A very good portrayal.
An amazing performance was given by Susie McCann as Guenevere; she has great stage presence, wonderful acting expertise and a strong, clear voice.
Peter Phelps was Sir Lancelot, another player with a good stage personality, fine acting and a pleasant clear voice. Phillips had a good rapport both with McCann and Higgins.
The eccentric King Pellinore was given an expert interpretation by Bill Irvine who captured the essence of such a character as envisaged. Geoff Earle was Merlyn. A good presence working well with Higgins but was only in the first scene as he was trapped in a tree from then on.
The villain of the piece was Mordred played Phil Lam. Lam played the role as an evil melodrama villain complete with moustache and cape. An energetic role well played by Lam.
The sound engineer captured the correct balance between the singers and the orchestra resulting in the clarity of the singers and who were not drowned out by the orchestra.
A successful evening of theatre by MLOC and one of those musicals where the audience departs the theatre singing or humming the show’s popular numbers.

The Best Little Whorehouse in Texas

Catchment Players

Director: Anne Dewar
Choreographer: Di Crough.
Musical Director: Nathan Firmin

Catchment Players spring production was The Best Little Whorehouse in Texas
Taken from the true story of the Chicken Ranch, a Texan Whorehouse that operated from the 1840s to 1973 when a crusading do-gooder Houston radio commentator and his conservative audience exposed the Chicken Ranch forcing it to shut its doors forever.
Catchment had an excellent stage set of the Whorehouse with stairs each side leading up to the girl’s rooms and looking centrally downstairs was the front entrance with a wagon wheel centre Behind the wheel was the orchestra all dressed in cowboy outfits fitting the mood of the story.
A well performing cast with a couple of very young looking girls with such a lascivious look it was hard to believe in such young looking girls. Very suitable to the roles.
The Madam was Miss Mona Stangley played by Adrienne George. A superb portrayal, not only a good actor but a lovely and clear singing voice. The Sheriff Ed Earl Todd was played by Scott Reid. Reid captured the role comfortably with a good rapport between himself and Adrienne George. He has a good stage presence and a pleasant voice giving a good portrayal.
Jewell, Miss Mona’s maid was played by Ruth Bishop. A wonderful performer with a lovely voice and a good actor to boot.
The crusading do-gooder Melvin P. Thorpe was excellently portrayed by Brad Fischer. A successful over the top performance as called for Fischer really grasped the task at hand. Rather reminiscent of Liberace with the wig and spangles of his costume. Definitely an asset to the production.         
Senator Wingwoah, Mayor Rufus Poindexter, Miss Wuilla Jean, was played by Arno Vann. A good interpretation of the three roles. A light-hearted role was that of the governor who was really adept at dodging vital questions (local politicians could take note). Will Deumer was a sheer delight in the role; he has a great comic and timing sense which added to the professionalism of the evening.
There were no poor performances and although the singers were miked the sound engineers got the correct balance resulting in a pleasant evening of theatre.

Nova Musical Theatre

Disney’s Beauty and the Beast
Director: Noel Browne
Musical Director: John Clancy
Choreographer: Jonathon Robinson

Nova’s spring presentation was an old favourite in Disney’s Beauty and the Beast.
A well set stage with great effects particularly in the opening, with the rude prince changing into the beast. The lighting was very effective, costuming absolutely magnificent, the orchestra remembered its true function and accompanied the singers and the sound engineers surpassed themselves with the correct balance unlike what usually happens.
The two highlights of the evening were Robert Clark as the Beast and Georgia Wilkinson as Belle. Both have excellent stage presence and are wonderful actors. To top it off the voices are absolutely superb and in their duet you could have heard a pin drop and the audience held up the show momentarily with the applause.
Other outstanding performances were given by John Gardner as the self-centred all round hero Gaston who decided that he will marry Belle regardless of her opinion. A wonderful well balanced over the top performance as the role called for.
His partner Le Fou, a dumb servant type was given an excellent performance by Daniel Ham who caught the finer nuances of such a character.
An actor/singer who nearly stole the show was Greg Beresniak as Lumiere, the beast’s servant who was slowly changing into a candle stick plus candles. Beresniak has a good voice clear, concise and sung with expertise. His acting in this role was outstanding and he really caught the audience’s attention and applause.
There were no poor performances but with such a large cast it is hard to mention them all.
The scenes in the forest, first when Maurice gets lost and is attacked by the wolves was excellently done with the wolves choreographed specifically for the attack movements, and when Belle came looking for her father and the Beast saving her.
A professional evening of theatre in Melbourne’s outer suburbs showing how unnecessary a long trip to the city really is. Nova Music Theatre outdid themselves and is definitely a company not to be missed. Their next production is Miss Saigon in May 2012. 

Babirra Music Theatre

The Pajama Game
Directors: Jaison Hoernel & Kerryn Hoernel
Choreographer: Kerryn Hoernel

Babirra Music Theatre proved again that the public like the old time musicals with the production of The Pajama Game completely sold out on opening night.
A show with the songs being hummed and sung as the theatregoers leave at the end of the show.
A well set stage with smooth changes when required.
A story of life in a pyjama factory and the differences between unions and management with a new superintendent and his meeting with the head of the grievance committee an attractive young lady.
Sonia Balodis is Babe Williams, the head of the Grievance Committee. A wonderful portrayal with Balodis really capturing the role and showing her feelings for Sid the new supervisor but still retaining her position as head of the Grievance Committee even if it conflicts with her personal feelings.
Andrew Pennycuik was Sid Sorokin the new supervisor who falls in love with Babe Williams even though they are on opposite sides of the fence. Another great performance with a good rapport between the two.
A good scene was that of Vernon Himes, played by Mario Mohorko, the time and motion expert and Mabel, played by Victoria Zainal An unforgettable moment with these two  carrying on across the office.
Another good performer was Britni Leslie as the manager’s secretary Gladys.
The manager Hasler who turned out to be the cause of all the management and workers troubles was played by Barry Baker. A great characterisation with Barker really capturing the role as envisaged.
A good evening of theatre with one minor discord with the sound engineers making the high notes too loud and thus ruining the timbre of the singers.

Doris - Doris Day - So Much More than the Girl Next Door

Her Majesty’s Theatre
Doris
Doris Day – So much more than the girl next door.

Melinda Schneider brings Doris Day to Melbourne.
Melinda tells the audience she first was captivated by Doris Day from the movie Calamity Jane
Melinda does not do an impersonation of Doris but a history of the life of the girl next door.
She intersperses songs with stories of the life of Doris including similarities between them.
The 14 piece orchestra was on stage with steps down the centre where Melinda and her backers, two male singers and dancers, Rohan Browne and Sam Ludeman made their entrances.
Melinda has a good stage presence, a voice very reminiscent of Doris Day but did lack a little polish in the soft shoe numbers. An amazing quickness in costume changing, a good clear voice holding the audience enthralled hearing Doris again.
Her supports, Rohan Browne and Sam Ludeman, were a great balance . Both singer dancers with good voices polished dance movements and obviously enjoying themselves on stage.
With Melinda reminiscing about the bands Doris performed with and The Her Majesty’s Theatre Showband – a swinging fourteen piece orchestra brought back many memories of Saturday night dances at the various town halls around Melbourne where big bands and singers were highlights of one’s Saturday.   
There were two other artists that made their entry toward the end of the evening, Melinda’s own two dogs!
A pleasant evening particularly for Doris Day fans and with three curtain calls showed the audience’s appreciation. 

Kismet

The Production Company

Director: Terence O’Connell
Musical Director/Conductor: Peter Casey
Choreographer: Alana Scanlan.

Kismet, a musical romance set in Baghdad in the time of Omar Khayyam and the period which only exists in one’s imagination.
The music adapted from Borodin kept the audience bubbling and feet tapping along and the glamour of the costuming not forgetting the beautiful girls and handsome heroes kept everyone on their toes and wide awake.
The story of the penniless poet Haji, his beautiful daughter Marsinah and their relationships with the Caliph of Baghdad, the Wazir. Lalume, Omar Khayyam and many others.
A simply set stage with the orchestra on audience left and the action on audience right. 
The poet beggar Haji was magnificently portrayed by Gary Rowley. Top stage projection with a strong baritone, a touch of comique and great rapport with his fellow artists.
His daughter Marsinah was given an exquisite performance by Janet Todd. A lovely soprano with clear strong tones and good acting particularly showing exasperation but love for her father’s misdemeanours.  Her gardener friend unbeknownst to her the Caliph of Baghdad was played by Josh Piterman. Josh has good stage appearance, worked well with Todd and a pleasant voice.
The comedy delight of the evening was the villain, The Wazir. Played by Michael Butel who captured the essence of the character as envisaged Butel had the audience in fits. Although he was an evil man the way it was portrayed one could not help laughing at his indiscretions.
The Wazir’s chief wife Lalume was given a wonderful characterisation by Chelsea Plumley. Plumley has a great sense of comic timing, a lovely clear voice herd across the theatre and also a great actor. Some of her scenes particularly with Butel were a sheer delight.
Omar Khayyam was played by Rhys Mc Connochie, a pleasing and well done portrayal of one of history’s famous poets.
Some outstanding scenes were the The Three Princesses of Ababu dancing for the Caliph. Amazingly talented and energetic the dance routines were absolutely amazing and then put together with The Three Macho Males of Baghdad the spectacle was unbelievable.
An exciting and romantic evening of theatre from The Production Company.

 After Party Photos

Anything Goes

The Production Company

Directors: Andrew Hallsworth & Dean Bryant
Musical Director/Conductor: Peter Casey.
Choreographer: Andrew Hallsworth

The Production Company’s first snow for 2011 was Cole Porter’s Anything Goes.
A light hearted musical about the adventures of the passengers, crew and a stowaway on board the SS American.
A concert version comprising of a single two-storied set of two ship’s desk. Audience right on the lower deck was the orchestra and audience left doubled as cabins and the ship’s brig.
The upper deck was just that, an upper deck where various scenes were played.
Elisha Whitney, a business man, was heading to England. His employee, Billy Crocker, came on board with Whitney’s tickets and passport and discovered that the love of his life, Hope Harcourt was on board with her mother and fiancé, Lord Evelyn Oakleigh.
Billy decides to stowaway and persuades Hope to marry him and not her fiancé.
Elisha Whitney was given a great comical performance by John O’May.
Billy Crocker was played by Alex Rathgaber. A good interpretation of the role added to by a fine voice. His love to be, Hope Harcourt, was excellently portrayed by Christy Sullivan. Sullivan captured the character with finesse and had a good rapport with Rathgaber.
Billy’s friend Reno Sweeney, another passenger on board was given a wonderful interpretation by Amanda Harrison, capturing the role with ease. Some of her scenes were an absolute delight added to by her singing and dancing sequences.
Todd McKenney was Lord Evelyn Oakleigh, a remarkable performance and so into the role he was hardly recognisable. McKenney played the upper class wit like character with finesse and was well appreciated by the audience.
Another great character portrayal was given by Wayne Scott Kermond as Moonface Martin, Public Enemy No 13. Disguised as a priest and carrying the traditional violin case Kermond gave an outstanding performance in true Wodehousian style
His girlfriend Erma was given a delightful and expert performance by Christie Whelan.
Anne Wood was a comic relief in a great musical comedy as Hope’s mother Evangeline Harcourt. A great performer and a delight for the audience.
A very successful evening by The Production Company and Melbourne audiences are looking forward to the next production which is Kismet.

After Party photos

Hanging on to Vaudeville.

The last of Australia 's vaudevillians Reg Gorman is on the Regional Theatre circuit reminiscing about his life in show business and bringing back memories of the old vaudevillian days.

He opens his show with a screen showing excerpts of his TV and film career.

Then Reg enters and quietly sits on a lounge chair and chats about his life in show business. The feeling is that we are sitting at home talking over old times with an old friend.
Reg's first sketch is about the elixir of life. This shows his incredible range of expression and talent. An amazing performance.
The production then varied from TV and film which brought back many memories of past productions showing Reg as a comedian and character actor to singer and drama acting. Between the TV and film excerpts Reg showed us why he is a tradition in Australia 's performing arts. With several sketches with impersonations of such previous stars as Roy Rene better known as Mo Macackie, George Wallace ad many others. His characterisation was excellent and really brought back the stars of yesteryear.
The sketches varied from solo, talking, silent and with a partner. Reg showed the talent which does appear to be lost since the days of vaudeville where every artist had to be versatile
An energetic performance and thoroughly enjoined by the audience. Reg Gorman has the art of holding the attention of an audience, giving the feeling that you are sitting with an old friend and holding the attention of all for the duration of the performance. The result was that the show seemed to end too soon and one could go on for more time.
This is the expertise of a true artist and when the show comes around again do not miss it.