Category Archives: Musical Theatre

Carrie the Musical

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Seymour Centre, Sydney, November 15

Hilary Cole as Carrie. Photo: Michael Francis

Hilary Cole as a bloodied Carrie. Photo: Michael Francis

How wonderful to finally have the chance to see Carrie the Musical – that most infamous of Broadway flops.

Based on Stephen King’s 1974 novel and Brian de Palma’s 1976 movie, it opened on Broadway in 1988 where it survived just 16 previews and five performances. It comes to Sydney now in the reworked version seen off-Broadway in 2012 thanks to independent musical theatre company Squabbalogic.

Not only is praise due to Squabbalogic for staging the musical here for the first time but they have timed it well given the release this week of Kimberly Peirce’s film remake.

As most would know, the story centres on Carrie, a teenage misfit with a fanatically religious mother who is bullied remorselessly at school. Life isn’t much better at home, particularly when her mother discovers that Carrie has begun menstruating and treats it like the proverbial ‘curse’ from God.

Discovering that she has telekinetic powers, Carrie eventually takes terrible revenge when the bullying turns decidedly nasty at the high school prom.

It would be so easy to camp it up but director Jay James-Moody has played it straight, directing a terrific production, complete with litres of blood, that hones in on genuine emotion and human drama wherever he can find it.

Despite the rewrite, the musical – with music by Michael Gore, lyrics by Dean Pitchford and book by Lawrence D. Cohen – hasn’t ironed out all its problems. The book doesn’t have a great deal of emotional and psychological depth, while the new framing device, which has nice girl Sue  (the sole survivor from the prom) telling the story in flashback via interrogation, feels clunky and unnecessary.  The lyrics, meanwhile, too often veer to the obvious.

The songs are catchy and the score rocks along, though the number in which the kind, sympathetic teacher Miss Gardner urges Carrie to open herself up to love (“Unsuspecting Hearts”) feels inappropriate and unlikely – particularly with intercut dialogue like “Listen to me, you have beautiful eyes.”

Having said all that, I thoroughly enjoyed the show and felt for Carrie – here movingly portrayed by Hilary Cole in a very impressive Sydney debut.

Set in a burnt out gym, with tattered drapes adding a spooky feel, Sean Minahan’s set creates just the right atmosphere, while the telekinetic effects are nicely done.

James-Moody directs with a great deal of assurance and love, establishing a convincingly teenage vibe with his young, enthusiastic cast.

The most powerful scenes (and this is to do with the writing) are between Carrie and her mother Margaret – here superbly performed by Cole and Margi de Ferranti.

Margi de Ferranti and Hilary Cole. Photo: Michael Francis

Margi de Ferranti and Hilary Cole. Photo: Michael Francis

Cole is a real find. Petite and pretty, she makes a very believable transformation from dowdy outcast in baggy clothes– her shoulders hunched, her eyes constantly downcast – to blossoming Prom Queen. Her pure voice is lovely and she sings from the soul, really connecting to the lyrics so that your heart goes out to her.

De Ferranti is in fine form vocally and dramatically as Carrie’s bitter, fanatical mother, giving her a crazed air. Beneath Margaret’s avenging fear and Carrie’s desperate need to escape, the two of them convincing portray the needy love between them.

Adèle Parkinson is also lovely as all-American-girl-with-a-heart-of-gold Sue, with strong support from Prudence Holloway as bad girl Chris, Toby Francis as her too-easily led, loser boyfriend Billy, Rob Johnson as good guy Tommy, Garry Scale as wry teacher Mr Stephens and Bridget Keating as Miss Gardner, along with the rest of the ensemble (Tim Dal Cortivo, Jaimie Leigh Johnson, Andy Johnston, Monique Sallé, Zach Smith and Maryann Wright).

Musical director Mark Chamberlain leads a sharp, eight-piece band, seated in the balcony above the stage.

Despite the show’s shortcomings, Squabbalogic once again give us a smart, high-energy, engaging production of a rarely seen musical that musical theatre aficionados won’t want to miss.

Carrie the Musical runs at the Reginald Theatre, Seymour Centre until November 30. Bookings: 9351 7940

Atomic

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NIDA Parades Theatres, November 18

Michael Falzon as Leo Szilard. Photo: Gez Xavier Mansfield Photograph

Michael Falzon as Leo Szilard. Photo: Gez Xavier Mansfield Photography

The life of Hungarian-American physicist Leo Szilard, who was involved with the development of the atomic bomb, is a dark but meaty subject for a musical with plenty of emotional and moral complexity.

However, the new musical Atomic – which is currently playing its world premiere season in Sydney – attempts to cover so much ground while telling his story in linear biographical fashion (apart from an opening scene featuring two young Japanese lovers torn asunder as the bomb falls) that it doesn’t have the depth or impact that it might.

Born in 1898 in Hungary to Jewish parents, Szilard trained as a physicist in Germany but was forced to flee the Nazis with his wife-to-be Trude, going first to England and then to America.

Having conceived the idea of nuclear chain reaction in 1933, he patented the first nuclear reactor with Italian physicist Enrico Fermi and was co-opted to work on The Manhattan Project where he was involved with developing the atomic bomb that was dropped on Japan, despite his own grave misgivings.

After World War II, his work included the development of radiation therapy to treat cancer (which he himself suffered) – something that the musical counterpoints with his guilt about the lives lost in Nagasaki and Hiroshima.

Written by Australian Danny Ginges and American Gregory Bonsignore (book and lyrics) and Australian Philip Foxman (music and lyrics), Atomic traces Szilard’s life from 1933, throwing in such a welter of incidents, characters, themes and ideas that in processing all the information (some of which isn’t really necessary) we aren’t able to focus enough on the character of Szilard, his relationship with the loyal Trude as he puts science ahead of family, or the moral dilemma at the heart of the piece.

Running close to three hours, it feels as if the writers weren’t quite sure how to end it either. Towards the end of the show there’s a powerful song called “What I Tell Myself” about the guilt that all Szilard’s colleagues are feeling as they lie awake at night, then on we go with yet more biographical narrative followed by a ballad for Trude about her love for her husband, which is beautiful but completely out of place at that point.

There’s plenty of interest in there but it needs a tighter focus (a restructure away from straightforward biography perhaps) to really engage you with the characters and themes.

Musically, the score is predominantly rock-based, much of it catchy and some of it rousing. There’s also an Andrews Sisters-like song, clearly inspired by “Boogie Woogie Bugle Boy” as well as Yiddish and Broadway influences. However, a comic number called “America Amore” sung by Fermi sits oddly – an all-too-obvious bid for light relief that doesn’t come off despite David Whitney’s energetic performance.

For this premiere season, American director Damien Gray helms a well-staged, small-scale production featuring excellent performances by a cast of seven. Neil Patel’s set with its scaffolding and sliding screens that quickly create different spaces as well as moving trains, boats and planes is effective, with dramatic lighting by Niklas Pajanti while Emma Kingsbury’s costumes are terrific.

The actors commit whole-heartedly and do a marvellous job, dealing admirably with sound problems on opening night. Michael Falzon is in fine voice as Szilard and gives a sensitive performance that drives the show emotionally. He is well matched by Bronwyn Mulcahy as Szilard’s wife, who also sings beautifully. Blake Erickson, Simon Brook McLachlan, Lana Nesnas, Christy Sullivan and David Whitney are all excellent in a range of cameos and ensemble roles.

Atomic has enough going for it to see that it has potential. As it stands now, it’s a long night that never quite soars, but it is well worth future development.

Atomic plays at NIDA Parades Theatres until November 30. Bookings: ticketek.com.au or 1300 795 012

Dirty Rotten Scoundrels

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Matt Hetherington and Tony Sheldon. Photo: Kurt Sneddon

Matt Hetherington and Tony Sheldon. Photo: Kurt Sneddon

Theatre Royal, Sydney, October 24

Dirty Rotten Scoundrels is a complete delight from start to finish: a joyous night of perfectly cast, laugh-out-loud musical comedy.

Based on the 1988 film starring Michael Caine and Steve Martin, the show is set in the French Riviera where two conmen – the suave, sophisticated Lawrence Jameson and the younger, brasher Freddy Benson – compete to swindle $50,000 from a soap heiress called Christine Colgate. The loser must leave town.

Jeffrey Lane’s book and David Yazbeck’s catchy, melodic songs are deliciously witty and full of double entendres as well as occasional outright bawdiness, all of which inspire genuine, giddy mirth. There is also some priceless playing with the fourth wall (“Did I miss a scene?” asks Lawrence at one point) along with other meta-theatrical in-jokes including references to the musicals Oklahoma! and My Fair Lady.

Lane’s book cleverly builds the comedy, which becomes ever more farcical as the two scam artists spin their web of deceit in the hope of ensnaring their target. In the hands of this fine cast every comic moment is mined for all it’s worth, without it ever becoming heavy-handed.

Tony Sheldon makes a triumphant homecoming in the role of Lawrence, returning especially to play the part from the US where he is now based after his Tony Award-nominated performance in the Broadway production of Pricilla, Queen of the Desert. With his twinkly, dimply charm and immaculate comic timing, Sheldon is a natural for the debonair, charismatic Lawrence. He nails every laugh and makes the most of the opportunity to use several ludicrously funny accents.

It’s a consummate performance, matched by Matt Hetherington who is the perfect foil as the vulgar upstart Freddy. Hetherington’s unrestrained physical comedy and whacky slapstick is inspired – particularly when he is playing Lawrence’s supposed loony, sex-mad brother Ruprecht. He is also in great voice.

Hetherington played Freddy with great success for The Production Company in Melbourne in 2009 and was offered it in a US touring production but was unable to accept as his working visa was about to run out. Now we see why; he’s brilliant.

Together he and Sheldon are dream casting, managing to make the two scoundrels a hugely likeable odd couple despite their dubious trade.

Amy Lehpamer, who hasn’t been seen in Sydney since Rock of Ages never got here, is gorgeous as the kind, pretty, clumsy Christine Colgate (who is also not quite what she seems) and sings superbly. Katrina Retallick is downright hilarious as Jolene Oakes, a crass lass from an oil-rich family in Oklahoma, who is determined to marry Lawrence and take him home to the ranch.

In a romantic sub-plot, Anne Wood is very funny as a droll, swinging American divorcée, who having been duped by Lawrence becomes romantically involved with his side-kick, the Chief of Police played by John Wood. Wood’s questionable French accent wanders between Europe and Australia, but he plays the character with understated charm.

Having cast the production in exemplary fashion (the ensemble is also terrific), Roger Hodgman’s excellent direction puts the focus firmly on the performers in a production that is deliciously light on its feet. There’s a modest but attractive, flexible set by Michael Hankin, elegant, colourful costumes by Teresa Negroponte, beautiful lighting by Nicholas Rayment and appealing choreography by Dana Jolly, while musical director Guy Simpson conducts the 18-piece orchestra with panache.

All in all, it’s a superb production of a hugely entertaining show that exudes the charm of classic musical theatre, and is oodles of fun.

Hats off to producers James Anthony Productions and George Youakim. It’s their first big production and they deserve to have a massive hit on their hands.

Dirty Rotten Scoundrels runs at the Theatre Royal until December 8.

An edited version of this review appeared in the Sunday Telegraph on October 27.

Grease review

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Lucy Maunder as Rizzo leads the cast of Grease. Photo: Jeff Busby

Lucy Maunder as Rizzo leads the cast of Grease. Photo: Jeff Busby

When Grease premiered in 1971, it was a show with attitude that took a rough, raunchy look back at 1950s teenagers and celebrated the music of the era. Over the years, particularly with the advent of the much-loved film, the edges have been knocked off it and it’s become much less gritty.

This latest incarnation, which originated in the UK with direction by David Gilmore and choreography by Arlene Phillips, could do with a bit more of that original grunt.

Restaged by Jason Capewell and Charlotte Bull, the production feels a tad too slick for its own good and somewhat heartless. It needs to trust the moments more and find the truth in them to connect you better with the characters. As it is, you don’t really care about them.

Lucy Maunder’s Rizzo is a notable exception. She really owns the role of the snarky, cynical leader of the Pink Ladies and her moving rendition of There Are Worse Things I Could Do is an emotional and musical highlight.

The production begins, somewhat strangely, with a sing-along of We Go Together led by Miss Lynch (Val Lehman) while the students of Rydell High enter via the auditorium. In my experience, sing-alongs are never terribly popular with audiences at the best of times – let alone at the top of a musical. Here it is forced and awkward.

After that slow start, much of Act I feels a bit flat. Though the cast performs energetically and the show rocks along (almost too frenetically at times) it all feels a bit hollow and the songs don’t really get things pumping the way you’re willing them to.

The production picks up with Greased Lightin’ led by Stephen Mahy as Kenickie but it’s not until Todd McKenney’s appearance as Teen Angel that the show hits its groove. Resplendent in a gleaming white suit studded with rhinestones, a silver waistcoat, silver boots and white blonde wig that makes him look like a cross between Liberace and a cheesy Elvis, it’s a literally glittering turn. It may be unashamedly over-the-top but McKenney exudes the charisma, star power and fun that the show needs at that point to really lift: definitely another production highlight.

Rob Mills and Gretel Scarlett are both likeable as Danny and Sandy. Mills’ voice has grown in recent years and he brings his winning, cheeky charm to the character, while Scarlett has a lovely voice, which soars with crystal clarity in Hopelessly Devoted to You. However, there’s little chemistry between them.

Other characters among the Rydell High students are less well delineated and get somewhat lost in the mix, particularly the boys, with a couple of songs getting hardly any response from the opening night audience.

Bert Newton may be a much-loved Australian celebrity and cast for that reason but he is far too old to play DJ Vince Fontaine – something that becomes wince-makingly obvious when he is called on to flirt with Marty (Karla Tonkich) – and his accent comes and goes. As Johnny Casino, Anthony Callea puts a contemporary pop spin on Born to Hand Jive instead of the original 1950s rhythm and blues rockabilly style – and something is lost.

The set is relatively modest though it does the job and the colourful costumes work well but the choreography could do with a sharper 1950s vibe and edge.

The story itself is so simple it doesn’t bear much analysis. The teenagers’ problems come and go very quickly, while the ending has always sent a somewhat mixed message with Sandy transforming herself into a bad girl to get her guy. But it’s always been that way and when everything is hitting the mark it doesn’t matter. Here, it is somewhat exposed.

Nonetheless, the songs are great and so familiar that the audience laps them up. (They certainly did in Brisbane where the show sold out before coming to Sydney). Promoted as “the number one party musical”, this production of Grease is fun but it’s hardly electrifyin’.

Grease plays at the Lyric Theatre until December 8 then at Melbourne’s Her Majesty’s Theatre, January 2 – February 9.

An edited version of this review ran in the Sunday Telegraph on October 20

Shahrukh Khan interview

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Shahrukh Khan, who arrives in Sydney this weekend

Shahrukh Khan, who arrives in Sydney this weekend

He’s known as “the King of Bollywood” or “King Khan” – with good reason.

Shahrukh Khan is one of Bollywood’s biggest stars with five million twitter followers and a fan base estimated at over one billion. Named “the world’s most powerful movie star” by the Los Angeles Times in 2011, he has made 75 Hindi films including this year’s Chennai Express.

Said to be worth over $US 540 million, he co-owns two production companies as well as the Indian Premier League cricket team the Kolkata Knight Riders, which won the IPL in 2012.

On Monday, Kahn performs in Sydney in Temptation Reloaded, a hugely successful Bollywood stage spectacular, which arrives here as part of Parramatta’s four-day Parramasala Festival, after playing to sell-out crowds in 12 countries.

The show is a colourful explosion of Indian music, dance and comedy in which Khan stars with Bollywood actresses Madhuri Dixit, Rani Mukerji and Jacqueline Ferandez. There are 40 dancers and several singers, including controversial Punjabi rapper Yo Yo Honey Singh.

Khan’s “people” insisted on vetting questions before the interview with instructions that he wouldn’t discuss his family or personal matters. However, he was very charming when he took time out from a film shoot to field questions about bringing Temptation Reloaded to Sydney.

How did Temptation Reloaded come about?

You know actually we had done this show before about seven or eight years ago and I took it around the world then, when it was known simply as Temptations. This time round we have added some fresh components to the show, reloading it with more and therefore changing its title to Temptation Reloaded to inject some new energy into the show also. I actually came to Australia many years ago with the original show but it was much smaller than this production so it didn’t reach as many people on a national scale. But it got the name out there and the interest, and here we are returning bigger than ever.

How would you describe it? Is it a concert or a variety show?

It’s a mixture of everything to be honest. A bit of dancing, singing, groups and solo singing and a few little comedic skits thrown in for good measure too. I don’t sing live but will in the group numbers as we have actual solo male and female singers who take that lead. We like to incorporate the singing and dancing and skits into a storyline really so that there is meaning and purpose to what the audience is watching. It is more of a variety show than a concert and there will be a section in the show where I interact with the audience and teach them a lot about the art of Bollywood, which is lots of fun. I just hope everybody that comes to see it walks away a little brighter after being immersed in the color and passion of the show.

So it is very spectacular?

Yes, it is extremely colourful, an energetic and fun show that I believe will appeal to everyone. I am very proud to be in this amazing show and sharing it with our Australian fans.

How many people perform in it?

The production tour will consist of about 110 people who will include close to 60 dancers and production, make up, hair and stylists’ people that accompany us on the road. At any given time there will be about 40 dancers performing on stage, three actresses, a few actors and all the people behind the scenes who make the production run as effectively as it does.

How many numbers are you featured in?

(laughs) I’m in quite a few of the featured songs, including a duet with one of the leading actresses and the experience was amazing.

Does it have a similar vibe to a Bollywood movie?

Yes, there is a certain feel to this show that lends itself to a Bollywood movie but with more of a variety show element than the storyline of a movie.

Why do you think Bollywood films are so successful?

There’s a couple of reasons really. The uniqueness of Bollywood is what I believe intrigues people to it most, the color, the passion and the need for people to want to be a part of an industry that helps to create laughter and happiness and highlight the lighter side of life. The world is a crazy place indeed and Bollywood stares at the world and continues pushing and inspiring many to follow their dreams whatever they may be.

Did you grow up watching Bollywood films?

(chuckles) Yes, I did watch them when I was little. I remember curling up at my mother’s feet and watching them with her on a few occasions. My mum was really into movies and theatre and just loved the ceremony of how a Bollywood movie can make a person feel happy just by watching. Emotions are the universal language and Bollywood movies depict a realist approach to showcasing what people, especially Indians, want in life.

I believe you studied economics. What inspired you to become an actor?

(laughs) That’s correct; I am what you call an accidental actor. I wanted to be a film director at one stage as well as a hockey player too when I was younger. The acting thing was not the initial route I wanted to take but when I was approached for some acting roles in Mumbai I decided to take the plunge and haven’t looked back since.

Once you started acting did you want to become a Bollywood star?

I simply enjoyed the aspect of being an actor and getting regular work to be honest. I also knew that embracing our culture and sharing every facet of acting to the Indian community was a positive way to highlight our nation’s diversity and strength.

What does it take to be a successful Bollywood star?

A mixture of things actually. The ability to relay everyday life scenarios through comedy, drama, dance and song whilst capturing the heart and minds of true Bollywood. Looking good is also an important appeal to the viewers as well as having a strong work ethic.

How do you cope with the adulation? And do you sometimes wish you led a more ‘normal’ life?

You know I don’t get too attached or waylaid by social media networks and statistics to be honest but I gauge my popularity and reach by the work I do and the fans I reach through Twitter etc. Of course I am most honoured to receive the recognition and awards etc but I am just grateful for my blessings and thankful for my loved ones who have supported me from day one.

I believe you need six bodyguards in India. Will you be bringing bodyguards with you to  Australia?

(laughs) Yes I do just in case it gets a little crazy during my set. I will be bringing them to Sydney. Oh! how embarrassing! (laughs) Sometimes things can get a little out of control with some of my fans and it’s just easier to have security on hand.

You have been to Australia before?

Yes, I have visited Australia many times and performed there on several occasions so it will be great to return again. I actually shot a film out there called Chak De India in Melbourne and Sydney. It was a wonderful experience and I have a huge love and appreciation for Australia, so I am looking forward to returning. I really hope I get some time to do some sightseeing, especially in Sydney this time.

Did you expect Chennai Express to be such a massive hit?

You know as with everything I do in life I always put my best foot forward and that movie highlighted the sheer work ethic of a very successful team. I enjoyed the movie then and am also shocked when I see the amount of people that remembered this movie.  I will continue to enjoy the movie as the years go by.

You obviously love cricket given your involvement with the Kolkata Knight Riders?

Yes, I do enjoy cricket and have many outstanding Australian team member on my team for a good game. My team actually consists of a few Australian players like Ricky Ponting and they are wonderful people. I am really enjoying this team and all the hidden talents amongst us all.

Do you agree with people who say T20 is ruining Test Match cricket?

I don’t really have a radical outlook on sports to be honest. Times are changing, people’s attitudes are changing and schedules are changing so I think anyone wanting to embrace this movement should base it on individual merit and just to continue to enjoy the game for what it is.

Temptation Reloaded plays at Allphones Arena, Sydney on October 7. Bookings: ticketek.com.au or 132 849

An edited version of this interview appeared in the Sunday Telegraph on September 29

 

South Pacific

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Joan Sutherland Theatre, Sydney Opera House, September 12

Lisa McCune and Teddy Tahu Rhodes. Photo: Jeff Busby

Lisa McCune and Teddy Tahu Rhodes. Photo: Jeff Busby

When Opera Australia’s South Pacific opened last year it became the most successful production in the history of the Sydney Opera House – and so it’s back, by popular demand, with Lisa McCune and Teddy Tahu Rhodes reprising their starring roles.

They are joined by several new cast members: Gyton Grantley as Luther Billis, Christine Anu as Bloody Mary and Blake Bowden as Lieutenant Cable, all of them terrific.

With its memorable songs and stirring story, Rodgers and Hammerstein’s musical is one of the greatest all of time and Bartlett Sher’s magnificent production, which originated at New York’s Lincoln Centre in 2008, really does make for an enchanted evening.

First performed in 1949, in the wake of World War II, the show’s exploration of war, class and, in particular, racism was radical in its day.

The musical is set on a South Pacific island where the Americans are doing strategic battle with the Japanese. At its heart is Ensign Nellie Forbush (Lisa McCune), a “hick” nurse from Little Rock who falls in love with French plantation owner Emile de Becque (Teddy Tahu Rhodes) but must confront her prejudice when she discovers he has fathered two children with a Polynesian woman.

Restaging his production for OA on Michael Yeargan’s elegant sets, Sher gives full rein to the show’s romance and exuberant production numbers but balances this with a gritty truthfulness, ensuring that the show’s serious themes still hit home. Keeping the staging relatively simple, he puts the focus firmly on the characters and the human story they tell rather than razzle-dazzle.

McCune is lovely as Nellie. The warmth, sparkle, playfulness and emotional depth she brings to the role is utterly beguiling, keeping us on Nellie’s side despite her self-confessed small-mindedness. The final scene, when she moves beyond this to accept Emile and his children, is deeply moving while her earlier, high-spirited rendition of I’m Gonna Watch That Man Right Outa My Hair is musical theatre at its most joyous. Her bright voice sounds stronger this time around; it really is a stunning performance.

Appearing in his first musical, Rhodes, who has an international opera career, is sensational as Emile. The role was originally written for opera’s Ezio Pinza and Rhodes’s beautiful, burnished bass-baritone is so rich and powerful that his renditions of Some Enchanted Evening and This Nearly Was Mine are utterly thrilling. What’s more, the chemistry between him and McCune sizzles.

The subplot concerns the educated, courageous Lieutenant Joe Cable (Blake Bowden) who falls in love with Tonkinese girl Liat (Celia Yuen)  – the daughter of Bloody Mary – but knows he could never take her back to America as his wife. Bowden gives a sensitive portrayal, making Cable’s conflicting emotions convincing and understandable, and sings smoothly though his voice sounded slightly tight at the top of his register on opening night.

Making an impressive musical theatre debut, Grantley gives a wonderful robust, endearingly comic performance as the rascally seabee Billis who is sweet on Nellie, while Anu brings plenty of fiery grunt to Bloody Mary in a nuanced performance.

There is strong support from the rest of the company and the energetic ensemble, while the Australian Opera and Ballet Orchestra’s performance of the glorious score, under conductor Vanessa Scammell, is a delight.

All in all, this is musical theatre of the highest order, justifying its inclusion in an opera season.

South Pacific plays at the Sydney Opera House until November 2 then in Perth, November 10 – December 6 and Adelaide, December 29 – January 12

Edited versions of this review appeared in the Sunday Telegraph on September 15, 2013 and in August 2012

Independent Music Theatre names venue after Nancye Hayes

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As we reveal in today’s Sunday Telegraph, Independent Music Theatre is honouring Australian musical theatre legend Nancye Hayes by renaming the Darlinghurst Theatre after her.

When Hayes first got a call from David Campbell to discuss the idea she was so surprised she didn’t quite believe him.

“It’s something I’m still coming to terms with,” says Hayes. “When David rang me I thought, ‘this call isn’t happening.’ It’s not something you think will happen to you.”

Campbell is one of six producers and independent companies specialising in small-scale musicals and cabaret who have formed a consortium called Independent Music Theatre (IMT).

When the Darlinghurst Theatre Company leaves its Potts Point venue later this year to move to a new home in East Sydney, IMT will take over the theatre and turn it into a home for music theatre and cabaret.

IMT is renaming the 115-seat venue the Hayes Theatre as a tribute to one of our most loved leading ladies whose career in Australian musicals spans 50 years.

When Hayes first started performing in musicals, the leading roles automatically went to imported performers. Together with Jill Perryman and Toni Lamond, Hayes helped change this when at the age of 24 she played Charity in the 1967 J.C. Williamson production of Sweet Charity – one of the first Australian musical theatre performers to receive star billing.

The fact that she lives just around the corner from the Darlinghurst Theatre was the clincher.

“Nancye is a local so she’s the perfect fit,” says Campbell. “She’s still starring in shows like Annie and she also directs and choreographs. I think in this country we often leave it too late to honour people. We should cherish our stars and honour them while they are still living.”

Hayes says she feels “very humble, very proud and very honoured” and believes that an initiative like IMT is “long overdue. There has never been enough (small-scale musicals) for people,” she says.

When it comes to musical theatre, Sydneysiders are used to seeing a handful of big commercial shows each year but not a great deal else, besides amateur productions. Small-scale musicals are produced, but sporadically and at venues all over town.

Presenting them at one, dedicated theatre will shine a light on the work and help “develop audiences and develop the art”, says Campbell. “It will make musicals more accessible. There will be a place where you know you are going to be able to see a musical show at an affordable price.

“It’s like always going to blockbusters and never seeing an arthouse film. If you just go and see all the X-Men films and never see a Woody Allen film then you are not getting the full cinematic experience. We are trying to provide a similar thing (to arthouse films).”

Talented young performer Sheridan Harbridge, who has performed in musicals like My Fair Lady and An Officer and a Gentleman but also writes her own cabaret shows, is excited by the new venue. “Having this space is going to push a lot of artists to experiment a lot more, I think,” she says.

IMT will start producing shows at the Hayes Theatre early next year.

“You won’t come to the Hayes Theatre for great sets, it’s about the shows and the performers,” says Campbell. “But you’ll see productions that are so visceral and exciting you’ll think, ‘why do I need a big set for a show like this?’

“Things like this happen in London and New York all the time. There are places where they create new shows or stage revivals, which then move on (to bigger theatres). It’s important that Sydney has a place like this as well.”

An edited version of this story appeared in the Sunday Telegraph on August 18

Bloody Bloody Andrew Jackson: review

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Formed in 2006, Squabbalogic is a nifty addition to Sydney’s musical theatre scene with its mission to present local premieres of the types of show we wouldn’t be seeing otherwise.

The fact that the company is one of the groups behind Independent Music Theatre, which is taking over the Darlinghurst Theatre and turning it into a home for music theatre and cabaret, is cause for celebration.

Peter Meredith (centre) and the cast of Bloody Bloody Andrew Jackson. Photo: Michael Francis

Peter Meredith (centre) and the cast of Bloody Bloody Andrew Jackson. Photo: Michael Francis

The ambitious little indie company is currently staging Bloody Bloody Andrew Jackson – a rollicking, raucous rock musical by Alex Timbers (book) and Michael Friedman (music and lyrics), which tells the tale of Andrew Jackson, the seventh President of the United States who governed for eight years from 1829.

Nicknamed Old Hickory for his aggressive, no-bullshit style, he was a divisive figure who drove the British and Spanish out of the US, forcibly relocated the Native American Indians (massacring those who refused), took on the banks and positioned himself as a man of the people, forming the Democratic Party.

In the musical – which had a short Broadway season in 2010/11 after moving from off-Broadway – Jackson is presented as a cocky emo rock star, with plenty of charisma but serious flaws. Pragmatic doesn’t begin to describe him. Was he America’s greatest president or an “American Hitler”? asks the musical. Cast your own vote.

Combining rock music, irreverent sketch comedy and political satire, the 90-minute show hurtles along poking fun at narrative storytelling and American conservatism as it puts the boot into ruthless politicking – though it starts to flag a little towards the end as it keeps circling similar terrain.

The music ranges from the catchy, rousing opening number “Populism, Yea, Yea!” to a dark take on “Ten Little Indians”.

Though the writers had the American culture and political climate in their sights, it feels surprisingly relevant to here, particularly the treatment of indigenous people (and suspicion of any outsiders) and the political pandering to polls and public opinion.

Craig Stewart’s appropriately raw, rough-and-ready production, staged in a suitably grungy space, fairly explodes onto stage given the pumped, anarchic energy of the young cast. On one side of the room, next to the auditorium seating, there is an area where the performers have set up camp, lounging around on tatty chairs when not on stage.

The space is festooned with barricade tape and fairy lights that hang from the ceiling along with the odd pair of frilly knickers (set design by Sean Minahan). Other than that the stage is pretty bare. At the back of it sit the smoking band led by musical director Mark Chamberlain.

In tight black jeans, rock god bling and dark eyeliner, Peter Meredith brings just the right charismatic, sexy swagger to the title role and has a strong rock voice. Among the rest of the cast, all of whom play various roles, Jay James-Moody (Squabbalogic’s founding artistic director) is a standout, his comic timing immaculate, while Max Newstead is also impressive.

Some of the singing is pretty patchy and there were sound problems on opening night with mics used inconsistently (or perhaps not working when they should have done). But you can’t fault the rocking conviction of the cast. Overall, it’s an exciting production and a great opportunity to see a relatively little known show. Given the impending Federal election it’s also a neat piece of programming.

Squabbalogic deserves the support of anyone interested in musicals and Bloody Bloody Andrew Jackson ­­– which should have particular appeal to a young audience – is well worth seeing.

Bloody Bloody Andrew Jackson plays at The Factory Floor, Factory Theatre until September 1

Helpmann Awards

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Nathaniel Dean, Ursula Yovich, Rory Potter and Trevor Jamieson in The Secret River. Photo: Heidrun Lohr

Nathaniel Dean, Ursula Yovich, Rory Potter and Trevor Jamieson in The Secret River. Photo: Heidrun Lohr

Sydney Theatre Company’s stage adaptation of The Secret River was the big winner at the 2013 Helpmann Awards, receiving six awards from 11 nominations including Best Play, Best Direction of a Play (Neil Armfield) and Best New Australian Work.

Andrew Bovell’s stage adaptation of Kate Grenville’s award-winning novel was a popular choice at last night’s ceremony at the Sydney Opera House, hosted by Eddie Perfect and Christie Whelan Browne.

However, the musical category has caused a fair amount of discussion on social media, with some believing that South Pacific was unjustly snubbed.

King Kong – the new musical from Global Creatures – had been portrayed in some sections of the media as the main rival to The Secret River in terms of its potential to sweep the awards.

But it was Legally Blonde that took out the main awards in the musicals category, winning five from eight nominations including Best Musical (over South Pacific, The Addams Family and A Funny Thing Happened on the Way to the Forum), Best Direction and Best Choreography in a Musical (Jerry Mitchell) and performing awards for Lucy Durack and Helen Dallimore.

Rob Mills and Lucy Durack in Legally Blonde. Photo: Jeff Busby

Rob Mills and Lucy Durack in Legally Blonde. Photo: Jeff Busby

Tellingly, King Kong was not nominated for Best Musical or Best Direction of a Musical – and rightly so, I would suggest, for a show that most critics agree needs more work on its book.

However, King Kong picked up four design awards (though Marius de Vries’ original music lost out to Iain Grandage’s for The Secret River.)

The show was also given a special award for Outstanding Theatrical Achievement for the design, creation and operation of King Kong – the creature. Apparently there was genuine discussion at one point as to whether King Kong himself could actually be nominated as best performer. He is certainly truly extraordinary but since he is a puppet, common sense prevailed.

Technically King Kong was not eligible for consideration at this year’s awards since it had its opening night on June 15 after the cut-off date of May 31. However, the rules allow for late inclusions in “exceptional circumstances” and given the relatively weak field of musicals over the last year, the decision to include it was presumably made to bolster the field.

For my money, Bartlett Sher’s production of South Pacific – presented by Opera Australia in association with John Frost – was the best musical of the year. Of course, that’s a subjective view, however, it did win Best Musical at the Sydney Theatre Awards over Legally Blonde, Love Never Dies and Chitty Chitty Bang Bang.

There’s also the question of whether a revival should be judged against a new musical, let alone a new Australian musical, and whether we should be giving Best Musical awards anyway to shows that are carbon copies of overseas productions, regardless of how well we perform them. (We could still give awards for performances in a musical).

Among the four nominees for Best Musical this year, only John Frost’s Forum (seen in Melbourne) was a new production created in Australia.

The Helpmann Awards have always been a curious beast. Trying to create live entertainment awards with a national reach in such a vast country where few voters have seen all the nominations in any given category is always going to be a challenge with the inevitable oddities and anomalies occurring as a result. (People can only vote in a category if they have seen at least two nominations.)

There is probably more chance of voters having seen all the nominations in the musicals category than any other as most of them tour nationally – as Legally Blonde and South Pacific did.

There seemed to be a few curious omissions among the nominations this year. With no disrespect to any of the nominated performers, it seemed strange, for example, that none of the cast of South Pacific were nominated despite the production being up for Best Musical.

Such oversights have happened before (remember when Cate Blanchett failed to gain a nomination for her stellar performance in A Streetcar Named Desire).

For me there were one or two others this year but it is inappropriate to name names when, again, these things are so subjective.

Partly I’m sure that this is the result of trying to ensure a broad geographical spread of nominations (though there are always complaints that Sydney and Melbourne are over-represented) and partly because it is the producers who put forward the nominations in the first place, paying a $50 fee per entry.

You can’t help thinking that there must be at least some element of strategy as to who and what a producer nominates in order to raise the profile of a show or a performer.

I have also always found it odd that the Helpmanns give awards for Best International Contemporary Concert. This year Bruce Springsteen & The E Street Band Wrecking Ball won over Coldplay, Barry Gibb and Tedeschi Trucks Band & Trombone Shorty. Doubtless the producing team and their staff work extremely hard to make these tours happen but surely the Helpmann Awards should be about honouring and supporting Australian entertainment.

Among other major awards, Geoffrey Rush won Best Male Actor in a Musical for Forum, Colin Friels won Best Male Actor in a Play for Belvoir’s Death of a Salesman, Alison Bell (who had two nominations in the one category) won Best Female Actor in a Play for Hedda Gabler at the State Theatre Company of South Australia, Opera Australia’s Salome won four opera awards, while Bangarra Dance Theatre collected two.

With 43 categories, it was a loooong night running around four hours. The entertainment helped maintain interest notably Tim Minchin singing “When I Grow Up” from Matilda the Musical, and performances by the casts of Grease and Hot Shoe Shuffle, among others.

For a full list of awards go to: www.helpmannawards.com.au

Disclaimer: Jo Litson is one of the industry voters for the Helpmann Awards.

Independent Music Theatre: creating a new home for small-scale musicals and cabaret in Sydney

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The Independent Music Theatre team. Left to right: Lisa Campbell, David Campbell, Neil Gooding, Michael Huxley, Richard Carroll, Simone Parrott, Michelle Guthrie, Jay James-Moody and Jessica Burns

The Independent Music Theatre team. Left to right: Lisa Campbell, David Campbell, Neil Gooding, Michael Huxley, Richard Carroll, Simone Parrott, Michelle Guthrie, Jay James-Moody and Jessica Burns

Yesterday’s announcement that a new, not-for-profit consortium of producers and organisations called Independent Music Theatre (IMT) is to run the Reginald Murphy Hall in Potts Point as a home for small-scale music theatre and cabaret has my heart singing.

It’s exciting news given the potential for the company to become an important and much-needed addition to Sydney’s musical theatre scene.

Currently known as the Darlinghurst Theatre, the 111-seat venue was home to the Darlinghurst Theatre Company from 1999 until this March when the company vacated it to move into the new Eternity Playhouse in East Sydney, opening in November.

Having won the tender from the City of Sydney Council to become the next resident company, IMT will announce a new name for the venue in the coming weeks.

Describing themselves as a “collaborative partnership”, IMT comprises a team of organisations who already have runs on the board producing small-scale musicals and cabaret: Luckiest Productions (David Campbell, Lisa Campbell and Richard Carroll), Neglected Musicals (Michelle Guthrie), Squabbalogic (Jay James-Moody and Jessica Burns, who are soon to stage Bloody Bloody Andrew Jackson at The Factory in Marrickville), Neil Gooding Productions (who produced the Australian musical The Hatpin by Peter Rutherford and James Millar) and independent producers Michael Huxley and Simone Parrott.

Commercial musicals currently dominate the music theatre scene in Sydney – and there aren’t that many of those each year given the relatively limited audience compared to London or New York.

It’s not that Sydney doesn’t see small-scale, independent musicals but the productions are sporadic and scattered around various venues. Presenting regular shows in one venue will give the work a very useful focus.

Having their own home, where they can support each other, will also give the companies involved a better chance to survive and thrive.

Initially IMT’s audience is likely to be industry-based along with serious musical theatre fans but if the work is good a broader audience will hopefully follow pretty quickly. London’s Menier Chocolate Factory is an obvious model, whose success will doubtless be encouraging for the IMT team.

The chance to see musicals from overseas that would otherwise be unlikely to make it to our shores – whether that be little seen classics or more recent, innovative work – is so important for the development of the artform, as well as for the people who want to make it and perform in it.

Developing new Australian musicals – that most challenging of theatrical beasts – is  something that IMT will hopefully be well placed to undertake in the fullness of time.

It is a small venue but the IMT team are specialists in the field of small-scale music theatre and cabaret and should have the expertise and nous to choose the right shows and make them work in the intimate setting.

Neglected Musicals is already associated with the venue having presented terrific rehearsed readings of nine musicals there including No Way to Treat a Lady, On the Twentieth Century and Variations by Australia’s Terry Clarke and the late Nick Enright.

Stephen Colyer’s Gaiety Theatre (not associated with IMT) has also had success staging musicals there, including Hello Again and Kiss of the Spiderwoman.

The first IMT production is likely to be presented at the start of next year. I can’t wait.

You can find IMT at www.independentmusictheatre.com or follow them on Facebook or Twitter @IMTsydney