Chris Ryan, John Howard and Eryn Jean Norvill. Photo: Zan Wimberley
Even if you know nothing about Arthur Miller’s classic play All My Sons, the foreboding set for Kip Williams’ shattering Sydney Theatre Company production tells you immediately that all is not well.
Instead of the usual naturalistic backyard, designer Alice Babidge sets the action in a black box with a flat cut-out of the Keller family home. The blank façade gives little away though you can see art on the walls through the windows. Later, the set will be used to echo the revealing of secrets, as lies that lurk at the heart of the play are laid bare.
In the brighter opening scenes, the darkness of the set does rather undercut Miller’s initial depiction of a happy family apparently living the American Dream. But as the play unfolds, the setting adds to the feeling of something rotten behind closed doors.
The stark staging throws a laser focus on Miller’s beautiful writing and on the exceptional performances, which stand out in sharp relief against the dark, oppressive backdrop, while Babidge’s costuming anchors the play in its period. The production is eloquently lit by Nick Schlieper while Max Lyandvert’s music subtly underscores the building of tension.
Set in 1946, wealthy factory owner Joe Keller (John Howard) was exonerated for knowingly supplying faulty aircraft parts during the war but his business partner Steve, who took the rap, is still in jail. Meanwhile, Joe’s wife Kate clings to the hope that her son Larry, a fighter pilot missing in action for three years, will return home.
Their other son Chris (Chris Ryan) has invited Ann Deever (Eryn Jean Norvill) home and Kate and Joe are on edge. Ann is Steve’s daughter and Larry’s former girlfriend. When Chris announces that he wants to marry her, a tragedy is set in motion.
Williams directs with a searing clarity, beautifully served by a cast who are able to reach deep into the emotions gnawing at the characters from within. Nevin is heart-breaking as Kate. She looks so tiny and fragile, wracked by an anguish she is too scared to acknowledge, yet she can still muster a sharp humour and a desperate cheerfulness.
Robyn Nevin, Josh McConville and Eryn Jean Norvill. Photo: Zan Wimberley
In a wonderfully measured performance, Howard’s Joe is big and bluff with a geniality tempered by something guarded, while his sudden bursts of anger are quickly suppressed. Ryan radiates determined optimism as the idealistic, clean-cut Chris yet manages in little ways to suggest that he hasn’t completely recovered from the war. Hit hard by the truth, we watch Chris snap as his world falls apart. Norvill’s stylish Ann seems delicate yet stands her ground with surprising strength as she clings to the possibility of love.
As Ann’s avenging brother George, Josh McConville arrives (in crumpled suit) with a blast of energy. His body is tight-wired and physically wracked as he struggles with a whirlpool of emotions: rage, guilt and long-standing love for the Kellers.
In supporting roles as the Keller’s neighbours – Bert LaBonte as Jim, a world-weary, unhappily married doctor, Anita Hegh as his rather sour, nagging wife Sue, John Leary as the over-chatty handy-man Frank who is doing Larry’s horoscope for Kate, and Contessa Treffone as Frank’s sunny wife Lydia – the rest of the cast deliver well observed performances.
Telling a story of cowardice, denial and profit at others’ expense, All My Sons still resonates as powerfully as ever. Beautifully structured as it moves inexorably to its terrible conclusion, I felt as if I had been holding my breath for ten minutes or more by the play’s end, almost as emotionally drained as the actors.
Amy Lehpamer, sizzling in red, and the cast of High Society. Photo: Kurt Sneddon
High Society is set in the palatial home of rich socialites complete with swimming pool: quite a challenge in a 111-seat theatre.
But, true to form, the Hayes Theatre Co production solves it ingeniously. Set designer Lauren Peters has come up with four elegant, moveable arches and a clever reveal for the party scene. Lucetta Stapleton’s 1930s costuming, a few props and some sound effects (Jeremy Silver) are enough to complete the picture, along with Gavan Swift’s lighting.
The 1998 stage musical is based on the 1956 film High Society starring Grace Kelly, Bing Crosby and Frank Sinatra and Philip Barry’s 1939 play The Philadelphia Story. It has a very funny script by Arthur Kopit and songs by Cole Porter, some of which were in the movie, such as Who Wants to Be a Millionaire?, Well, Did you Evah! and True Love, along with others of his that weren’t. Not all the lyrics relate as well as they might to the situation but overall it works a treat.
It’s the eve of Tracy Lord’s wedding to the rather pompous, dull George Kittredge. However, her younger sister Dinah is determined that Tracy remarry her first husband CK Dexter Haven, who turns up unexpectedly with a pair of reporters from Spy Magazine, Mike Connor and Liz Imbrie.
Helen Dallimore directs with a sure, light touch, telling the story with great clarity, while Cameron Mitchell’s choreography suits the period. In another ingenious touch, Dallimore uses a quartet led by musical director Daryl Wallis whose jazzy arrangements of the score work brilliantly.
Virginia Gay and Bobby Fox. Photo: Kurt Sneddon
Amy Lehpamer positively glows as Tracy: glamorous, tough and very funny when drunk, her singing, acting and dancing all perfectly pitched. Virginia Gay is sensational as Liz, who is quietly in love with Mike. Her comic timing is impeccable, her performance is full of delicious, surprising little details (the way she hesitates to articulate the word ‘you’ when singing “All I want is you” in Who Wants to Be a Millionaire? just one of many) and she knows exactly how to deliver the songs.
Bobby Fox convincingly conveys Mike’s gradual softening as he falls for Tracy in a charismatic performance, while Bert LaBonté is an understated, rather melancholic Dexter whose charm grows on you.
Along the rest of the exceptionally strong cast, there are well judged comic performance from Scott Irwin as George, Jessica Whitfield as Dinah and Laurence Coy as the lecherous uncle Willy, while Delia Hannah is lovely as Tracy’s mother. All in all, divine.
A week ago, the Hayes Theatre Co had its twice-yearly Coming Soon event at which they announced their program for the second half of this year. Although the company has only been in existence for 18 months, we’ve come to expect the Hayes to give a good launch – and so they did.
Hosted by David Campbell, one of the producers running the venue, the evening began with a lively video montage telling the Hayes story to date. Dedicated to the presentation of independent musical theatre and cabaret, it certainly illustrated what a great start the-little-venue-that-could has had.
Blasting off with Sweet Charity and The Drowsy Chaperone, other productions have included Blood Brothers, Miracle City, LoveBites, Next to Normal, new musicals Beyond Desire and Truth, Beauty and a Picture of You and the current production of Dogfight, as well as a cabaret festival and several Month of Sundays cabaret seasons. It hasn’t all been an unmitigated success but it’s been an exciting ride with some sensational high points, proving beyond doubt that the Hayes is an invaluable addition to Sydney’s musical theatre scene.
So what do they have in store for us for the rest of the year?
Cabaret Season 2015
Running from June 1 – 28, this year’s cabaret season includes 17 acts by artists including Marina Prior, Phil Scott, Amanda Harrison, Rob Mills, Tyran Parke, Mitchell Butel, Josie Lane and Damien Leith among others.
It begins on June 1 with Australiana: A Celebration of Australian Musical Theatre directed by Genevieve Lemon with Max Lambert as musical director. Featuring performers such as Nancye Hayes, Christy Sullivan and Patrice Tipoki, the concert will raise funds for the presentation of a new musical in November as part of the New Musicals Australia program, now being run by the Hayes.
The cast recording of Luckiest Productions’ acclaimed Miracle City, recorded at the Hayes, will be launched that night.
Phil Scott gave us a taste of his new cabaret show Reviewing the Situation, which he has written with Terence O’Connell and which he will perform as part of the cabaret season. Telling the story of Lionel Bart, composer of the musical Oliver! the character and concept would seem to be right in the pocket for Scott and one of the shows to look out for.
The Hayes will host its first children’s show when it presents Blue Theatre Company’s Akio! – the story of a shy, young boy who is bullied at school and escapes by immersing himself in video games. Things get strange when he and Harumi, the girl of his dreams, are sucked into a video game. Akio! plays on July 4 & 5.
Jaz Flowers sings Dead Girl Walking from Heathers. Photo: Noni Carroll
Trevor Ashley was on hand to discuss Heathers The Musical, which he will direct with a cast including Lucy Maunder and Jaz Flowers. A rock musical by Lawrence O’Keefe and Kevin Murphy based on the cult 1988 film, Heathers opened off-Broadway last year. It tells the deliciously dark story of Veronica Sawyer, a brainy, beautiful, teenage misfit who manages to become part of The Heathers, a powerful clique of popular girls all named Heather at Westerberg High School. When Veronica falls in love with new kid J.D. and Heather Chandler, leader of the Heathers pack, says she will ruin Veronica’s social life, there will be hell to pay.
The New York Times described the show as a “rowdy, guilty-pleasure musical”. Ashley’s production for the Hayes is the first time the musical has been staged outside the US. Flowers raised the roof at the launch with her blistering rendition of the number Dead Girl Walking. Heathers plays July 19 – August 9.
A hit in Melbourne, Left Bauer Productions brings its acclaimed production of Terence McNally’s renowned play Masterclass to the Hayes. Inspired by Maria Callas’ 1971 visit to New York’s Juilliard School of Music, the production stars Maria Mercedes, who recently won a Green Room Award for her portrayal of Callas. The cast also includes Blake Bowden who sang Recondita Armonia from the opera Tosca at the launch. Fast becoming a regular at the Hayes, Campbell quipped: “we’re not going to let him go until he gets it right!”
Masterclass plays August 12 – 30.
Amy Lehpamer sings It’s All Right With Me from High Society. Photo: Noni Carroll
The Hayes Theatre Co will present Cole Porter’s classic musical High Society. It’s the first show presented solely by the Hayes rather than with one of the production companies involved with the theatre, or an external producer. Richard Carroll will serve as producer.
Amy Lehpamer will play Tracy Lord, the gorgeous, privileged but coolly pretentious young socialite, whose swelegant wedding plans are thrown into disarray when her ex-husband turns up as well as a pesky, undercover, tabloid reporter. Directed by Helen Dallimore, the cast will also include Bert LaBonte, Bobby Fox and Virginia Gay – or “Amy Lephamer, Bert LaBonte, Bobby Le Fox and Virginia Le Gay” as they will be known for the production, joked Dallimore.
Singing It’s All Right With Me, Lehpamer – who is on an incredible roll right now – showed why she’s been cast as Tracy Lord.
High Society plays from September 4.
Highway Run Productions (Toby Francis and Lauren Peters) will present Jonathan Larson’s rock musical Rent in association with the Hayes. Loosely based on La boheme, Rent is set in New York City’s East Village, over the course of a year in the early 1990s, where a group of impoverished artist friends struggle to live, love and create under the shadow of the HIV/AIDS epidemic The cast of Dogfight performed the song Seasons of Love from the show and set spines tingling.
Rent plays October 8 – November 1.
Mitchell Butel will direct the musical Violet with book and lyrics by Brian Crawley and music by Jeanine Tesori, which he described as his favourite Broadway show of the last 10 years. A road movie of a musical, it is based on a short story by Doris Betts called The Ugliest Pilgrim about a young, disfigured woman who embarks on a bus journey from North Carolina to Oklahoma to find the preacher she believes can heal her. The production will star Samantha Dodemaide who sang the numbers All to Pieces and Lay Down Your Head.
Violet plays November 2 – December 20.
I Might Take My Shirt Off
As part of A Month of Sundays, Dash Kruck will perform his cabaret show I Might Take My Shirt Off, which premiered at the Brisbane Powerhouse in February. Featuring original songs by Kruck and composer Chris Perren, Kruck performed a short extract from the show. He plays Lionel, a timid flooring salesman and cabaret virgin struggling to cope with a relationship break-up, who finds himself on stage when his German therapist Grizelda pushes him into doing a cabaret show as a way to express himself. On the basis of the launch taster, it’s a very funny evening.
I Might Take My Shirt Off plays on September 20 & 27 and on October 11.
Nicholas Hammond and David Campbell discuss Neglected Musicals’ Dear World. Photo: Noni Carroll
Neglected Musicals will present Jerry Herman’s Dear World, directed by Nicholas Hammond. Based on Jean Giraudoux’s play The Madwoman of Chaillot, Hammond described the 1969 musical as “25 years ahead of its time”. The Broadway production, he said, was over-produced; as a small production, he believes it works a dream. The staged reading will feature Genevieve Lemon and Simon Burke, with Max Lambert as musical director. Dear World will be presented on August 3.
It was also announced that the Hayes has launched TALK through its website, which consists of regular podcasts and a series of editorials by Daily Review arts writer/reviewer Ben Neutze about musical theatre and cabaret.
All up, it’s an impressive line-up from one of the exciting companies in town.