Matilda The Musical

Lyric Theatre, August 20

Matilda's "revolting children". Photo: James Morgan

Matilda’s “revolting children”. Photo: James Morgan

Her philistine parents consider her “a jumped-up little germ” and “a good case for population control”. To her monstrous headmistress Miss Trunchbull she’s “a maggot” like all children.

But a brave, book-loving, five-year old genius called Matilda Wormwood has been winning the hearts and minds of musical theatre audiences in London, New York and beyond, not to mention rave reviews and umpteen awards.

Based on Roald Dahl’s book, the hotly anticipated Royal Shakespeare Company production of Matilda The Musical, which premiered in 2010, has finally arrived in Sydney, triumphantly weaving such a powerful spell it has us rejoicing with its “revolting children”.

Written by Dennis Kelly (book) and Tim Minchin (music and lyrics), Matilda is one of the most thrilling new musicals of recent years: a show that isn’t afraid to be dark, sophisticated or smart, while at the same time pulsing with a gloriously funny streak of child-like, anarchic naughtiness.

There is a perfect synthesis between Kelly’s book and Minchin’s lyrics, both brilliant, which share a similar cheeky irreverence and wickedly clever wit but which also touch the heart without becoming sentimental.

The opening number, Miracle, instantly illustrates how wonderfully well Kelly and Minchin have been able to work together, setting the show up perfectly. Not only do we have Dahl’s tart observation about how most parents think their own children are little angels but a flashback to Matilda’s birth and a quick summation of her less than rosy situation. Interwoven through one song, it’s a very clever opening.

Celebrating the joy and solace of books as well as the power of words and the imagination, Kelly has added a new narrative strand to the show in which Matilda tells a story about an escapologist and an acrobat.

This beautifully staged tale (which uses dolls and shadow puppetry as well as actors) proves magically prophetic, filling out Miss Honey’s story and revealing Matilda’s yearning for loving parents without spelling it out.

Minchin’s charmingly offbeat, catchy songs are refreshingly different to so many of the pop scores we hear in contemporary musical theatre. Highlights include the bittersweet “When I Grow” in which the children sail out over the audience on swings, the uplifting, bolshie “Revolting Children” and the moving ballad “My House”, exquisitely sung by Elise McCann.

"When I Grow Up". Photo: James Morgan

“When I Grow Up”. Photo: James Morgan

Matthew Warchus’s superlative production (staged here by associate director Nik Ashton) is a total delight. Rob Howell’s ingenious design integrates alphabet tiles and building blocks throughout the set. He has a wonderful way with colour, contrasting the garishly bright home and costumes of the Wormwoods with the forbidding grey of the school, while the drag costume he gives Miss Trunchbull with hunched shoulders and pendulous bosom is both terrifying and a hoot.

Peter Darling’s energetic choreography, which draws on kickboxing and karate, has the spot-on feel of kids stomping in the playground. His routine for School Song – in which two school boys (played here by adults) leap around in fleet-footed fashion up and down the school gate as alphabet blocks are pushed into place through the metal grille – is breathtaking. The kids powering downstage during “Revolting Children” is exhilarating.

The show makes huge demands on its child actors, particularly the young girl playing Matilda. Bella Thomas (aged 11) who starred on opening night (in a role she shares with Molly Barwick, Sasha Rose and Georgia Taplin) is extraordinary, giving Matilda a touchingly solemn yet feisty, determined demeanour. Her singing voice, meanwhile, is strong, true and clear.

Bella Thomas as Matilda singing "Quiet". Photo: James Morgan

Bella Thomas as Matilda singing “Quiet”. Photo: James Morgan

But all the children are great, as are the adult cast. James Millar is sensational as the dreaded Miss Trunchbull, deploying an alarming bosom and killer comic timing to perfection. He marries an almost psychopathic stillness with sudden, throwaway jauntiness in a way that is both hilarious and frightening.

Elisa McCann is radiant as Matilda’s kind, put-upon teacher Miss Honey, Daniel Frederiksen and Marika Aubrey are very funny as Matilda’s appalling parents and Cle Morgan exudes oodles of exuberant warmth as the librarian Mrs Phelps.

Appealing to both adults and children, Matilda is a gem of a show with a wonderful heart and message about standing up to bullies and fighting for what is right. It’s also a love letter to joy of words. Pure magic.

Matilda The Musical is now playing at Sydney’s Lyric Theatre. Bookings: www.ticketmaster.com.au

A version of this review ran in the Sunday Telegraph on August 23

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Man of La Mancha

Reginald Theatre, Seymour Centre, February 28

Tony Sheldon and Ross Chisari. Photo: Michael Francis

Tony Sheldon and Ross Chisari. Photo: Michael Francis

Independent company Squabbalogic is known for its inventive productions of little seen, contemporary musicals. It now presents a brilliantly re-imagined staging of a hoary, 50-year old classic: Man of La Mancha.

Written as a play-within-a play, author/actor/tax collector Miguel de Cervantes is imprisoned by the Spanish Inquisition. When his fellow inmates subject him to a mock trial of their own, Cervantes tells them the story of Alonso Quijana, a crazed gentleman who believes he is Don Quixote, a knight-errant on a quest to better the world.

Director Jay James-Moody and his terrific design team (set by Simon Greer, costumes by Brendan Hay, lighting by Benjamin Brockman, sound by Jessica James-Moody) set their gritty production entirely in a dark, dingy prison dungeon (as the first production was originally staged before being expanded and romanticised).

We never forget that this is Cervantes mustering the prisoners to help tell his tale, but the performances are so beautifully delineated that we experience and embrace both layers of the storytelling at the same time. The prisoners are as well characterised as the roles they then take on in Don Quixote’s world.

Tony Sheldon and company. Photo: Michael Francis

Tony Sheldon and company. Photo: Michael Francis

The lo-fi staging is simple, with a few benches rearranged for different scenes, yet it’s also beautifully detailed from the horse costumes to the kinks in Don Quixote’s sword after his tilting at windmills. The staging makes clever use of the intimate theatre, including the balcony around it, to engender an oppressive atmosphere (heightened by the sound of clanking and screams) but allies that with a rudely vigorous performance style.

Hay’s costuming is a convincing combination of the grubbily makeshift and the more colourful outfits that Cervantes might well have had in his theatre trunk, adding an element of sexiness among the squalor.

Also heightening the DIY feel is the decision to have the actors play the score on a range of instruments, led by musical director Paul Geddes on piano.

At the heart of an excellent ensemble, Tony Sheldon gives a stellar performance. He is suave as Cervantes and dignified, gentle and frail as Quixote, his rendition of The Impossible Dream speaking to us afresh and tearing at the heartstrings. It’s a revelation after umpteen bombastic versions sung out of context with little sense of the song’s true meaning.

Marika Aubrey, Ross Chisari and Tony Sheldon. Photo: Michael Francis

Marika Aubrey, Ross Chisari and Tony Sheldon. Photo: Michael Francis

Marika Aubrey is a spunky Aldonza, the abused barmaid and part-time tart in whom Quixote sees beauty as his honoured Lady Dulcinea. Aubrey brilliantly captures the tough, cynical carapace Aldonza has built for self-protection and then touchingly conveys the new hope she gradually, briefly allows herself to feel in Quixote’s eyes. The final scene between her and Sheldon is incredibly moving and inexpressibly sad. Aubrey is also impressive vocally and raises the roof with the song Aldonza.

Ross Chisari is endearing as Quixote’s chirpy sidekick Sancho Panza and his choreography suits the production’s aesthetic. Glenn Hill is in fine voice as the padre, as is Stephen Anderson as Alonso’s housekeeper. Joanna Weinberg lends weight to the antagonistic roles of the prison prosecutor and Dr Carrasco, who wants to marry Alonso’s niece but is worried about being associated with a madman, while James-Moody turns in a memorable comic cameo as the barber.

Stephen Anderson, Glenn Hill and Courtney Glass. Photo: Michael Francis

Stephen Anderson, Glenn Hill and Courtney Glass. Photo: Michael Francis

However, credit is due to all the performers: Hayden Barltrop (who is there primarily as a musician on clarinet, keys and bassoon), Reece Budin, Laurence Coy, Courtney Glass, Hay (who performs as well designing the costumes), Rob Johnson, Shondelle Pratt, Kyle Sapsford and Richard Woodhouse (whose guitar playing is gorgeous on Little Bird).

There’s no disguising Man of La Mancha’s creakiness. The book (Dale Wasserman) and lyrics (Joe Darion) are clunky at times, while Mitch Leigh’s Spanish-influenced music can feel samey and rather dirge-like. Despite all of that, Squabbalogic gives us an exciting, inspiring and genuinely moving piece of theatre. Recommended.

Man of La Mancha plays at the Seymour Centre until March 21. Bookings: www.seymourcentre.com or 02 9351 7944

A version of this review ran in the Sunday Telegraph on March 8

2014: The Year That Was in Sydney Theatre

Looking back over 2014, it was a solid rather than a spectacular year in Sydney theatre. There were some impressive productions and performances but overall not a huge amount that will linger forever in my mind as unforgettable.

Verity Hunt-Ballard as Charity. Photo: supplied

Verity Hunt-Ballard in Sweet Charity for the Hayes Theatre Co. Photo: supplied

By far the most exciting thing was the advent of the Hayes Theatre Co. A group of producers under the banner of Independent Music Theatre (IMT) took over the 115-seat theatre in Potts Point, previously the home of the Darlinghurst Theatre Company, and turned it into a venue for independent musical theatre and cabaret. Named after musical theatre legend Nancye Hayes, the Hayes Theatre Co opened with a bang in February with superb productions of Sweet Charity followed by The Drowsy Chaperone: two of my highlights for 2014.

For the rest of the year, the venue constantly generated excitement even if some of the productions were less successful than others. But it was great to see them producing two new musicals as well as a terrific cabaret festival, which confirmed how many exciting young cabaret performers are emerging in Australia and how rich and varied the genre now is, with other artists performing at the theatre during the year as part of its Month of Sundays cabaret program.

Elsewhere in Sydney theatre, it was good to see female directors and playwrights really making their mark and – as others have noted – queer theatre and indigenous stories gaining a higher profile in the mainstream. The number of powerful new Australian plays was also notable.

I saw 182 productions. These are my highlights for the year.

MUSICAL THEATRE

Sweet Charity

As I say, the Hayes Theatre Co gets my vote for the most exciting venue and initiative of the year. It could hardly have found a better way to begin. Sweet Charity sold out within three days (fortunately I had already bought tickets into the run so saw it twice). Director Dean Bryant and his creative team brought a dirtier, grittier edge to the musical and staged it ingeniously in the tiny space. Verity Hunt-Ballard was gorgeous in the title role, heading a strong cast that also included Martin Crewes as Charlie, Vittorio and Oscar, and Debora Krizak as Nickie and Ursula. The production tours next year. It will be interesting to see how Bryant expands it for the larger venues.

The Drowsy Chaperone

Sweet Charity set the benchmark high but The Drowsy Chaperone matched it. Staged at the Hayes by Squabbalogic (which began the year as part of IMT but parted ways, presenting the rest of its productions at the Seymour Centre’s Reginald Theatre), Jay James-Moody directed a deliciously inventive production of the delightful, tongue-in-cheek, meta-theatrical show. James-Moody also played the Man in Chair and gave a very funny but sweetly poignant performance. The entire ensemble cast was spot-on and the feel-good show sold out like Sweet Charity before it, leaving many lamenting they were unable to see it. One to revive in 2015 perchance?

Miracle City

Josie Lane, Marika Aubrey and Esther Hannaford. Photo: Kurt Sneddon

Josie Lane, Marika Aubrey and Esther Hannaford in Miracle City. Photo: Kurt Sneddon

The Hayes also staged a long-awaited revival of Max Lambert and Nick Enright’s legendary Australian musical Miracle City, not seen in Sydney since Sydney Theatre Company gave it a development production in 1996. With Lambert as musical director, the show about a US televangelist family raised the roof with its gospel-country songs and struck a strong chord with its dark story. Blazey Best was sensational as the unravelling Lora-Lee Truswell and Esther Hannaford broke your heart with her exquisite rendition of the show’s best-known song I’ll Hold On.

Truth, Beauty and a Picture of You, Beyond Desire

All power to the Hayes for staging two new musicals, even though neither were an unqualified success. Both were strong musically but need further work on the book. But there were some wonderful performances in both shows, notably Ian Stenlake and Scott Irwin in Truth, Beauty and Picture of You (featuring the music of Tim Freedman and a book by Alex Broun) and Nancye HayesChristy Sullivan and Blake Bowden in Beyond Desire (by Neil Rutherford).

OTHER MUSICAL THEATRE

Ruthless! The Musical

Elsewhere in independent musical theatre, a new indie company called The Theatre Division staged Marvin Laird and Joel Paley’s 1992 off-Broadway show Ruthless! at the Reginald Theatre. A send-up of showbiz and the pursuit of fame, it’s a very lightweight little piece but lots of fun. The production was stylishly designed and well performed by a strong female cast led by the ever-reliable Katrina Retallick, with Geraldine Turner as an acid-tongued theatre critic.

Strictly Ballroom

Thomas Lacey and Phoebe Panaretos. Photo: Jeff Busby

Thomas Lacey and Phoebe Panaretos in Strictly Ballroom. Photo: Jeff Busby

 As in 2013, commercial musical theatre was decidedly patchy in 2014. Baz Luhrmann’s hotly anticipated musical based on his film Strictly Ballroom had its moments but didn’t fully fire. The score was a bit of a mish-mash, some of the choreography felt flat when it needed to soar, and the production was often over busy. Catherine Martin’s costumes were sensational though.

Phoebe Panaretos made an impressive debut as Fran, with standout performances from Robert Grubb as the conniving Barry Fife and Heather Mitchell as Scott’s pushy mother. Luhrmann has already improved the show since opening and is reworking it further for its Melbourne opening. I will be fascinated to see it again there.

The King and I

Lisa McCune shone even brighter than Roger Kirk’s glorious costumes, giving a radiant performance as Anna in the Opera Australia/John Frost revival of Frost’s 1991 production. There was some controversy about the handling of the racial elements in the musical, particularly the casting of the non-Asian Teddy Tahu Rhodes as the King. Politics aside, the production was beautifully staged and I found Tahu-Rhodes moving as the King. The Asian characters were also sympathetically performed within the context of a 1950s musical.

Besides that, Sydney saw the return of Wicked, with Jemma Rix in fine form as Elphaba and Reg Livermore bringing a winning showmanship and humanity to the role of the Wizard, as well as a rather ordinary production of Dirty Dancing that has nonetheless been delighting audiences, with Kirby Burgess stealing the show as Baby – her first leading role.

Les Miserables

The barricades in Les Mis. Photo: Matt Murphy

The barricades in Les Miserables. Photo: Matt Murphy

The hugely popular musical is back to storm the barricades afresh in a 25th anniversary production featuring new staging and new orchestrations – and stunning it is too. Beginning its tour in Melbourne, there are superb performances from Simon Gleeson as Valjean and Hayden Tee as Javert, who head a generally excellent cast. I thought I’d miss the revolving stage. I doubted I’d be as moved as in the past but I was bowled over and emotionally undone. Can’t wait to see it again in Sydney in 2015.

Once

Staged in Melbourne, with no plans to tour apparently, Once is a bittersweet, wistful little musical, based on the film. The lo-tech staging is so clever and so right for the show, the music is infectious, and the performances lovely. Totally charming.

THEATRE

Henry V, Bell Shakespeare

Can Damien Ryan do no wrong? His idea of staging Henry V (for Bell Shakespeare) as if performed by a group of school students taking refuge in a shelter during the 1940 London Blitz proved inspired. Performed by a marvellous ensemble, Ryan brought his customary clarity to the dense play and left us in no doubt as to the ugliness of war.

Ryan also directed riveting, intelligent, moving productions of All’s Well That Ends Well and The Crucible for his own company Sport for Jove – arguably the most exciting indie theatre company in Sydney.

Tartuffe, Bell Shakespeare

Another terrific Bell Shakespeare production directed by Peter Evans. Featuring a hilariously funny contemporary adaptation by Justin Fleming, the rollicking production was a complete hoot with Kate Mulvany a knockout as the sassy, cheeky maid Dorine.

Pete the Sheep, Monkey Baa Theatre Company

Nat Jobe (as Pete), Todd Keys and Andrew James. Photo: Heidrun Lohr

Nat Jobe (as Pete), Todd Keys and Andrew James. Photo: Heidrun Lohr

A gorgeous show for children, adapted for the stage by Eva di Cesare, Tim McGarry and Sandra Eldridge from the picture book by Jackie French and Bruce Whatley about a sheep shearer who has a sheep called Pete rather than a sheepdog. Directed by Jonathan Biggins, with songs by Phil Scott, the production tickled adults as much as children, with everyone laughing uproariously while still being touched by the message about difference and acceptance. A real beaut.

A Christmas Carol, Belvoir

Another delightful adaptation, directed by Anne-Louise Sarks, that while not shying away from the darker corners of Dickens’ novella, filled the stage with joyousness and snow. The entire cast were perfect but Miranda Tapsell’s smile as Tiny Tim and Kate Box’s playfulness as the Ghost of Christmas Present, sparkling in a glorious costume made from gold tinsel (by Mel Page), would have melted the hardest hearts.

The Glass Menagerie, Belvoir

After several disappointing adaptations of classics, Belvoir made up for it with Eamon Flack’s production of Tennessee Williams’ semi-autobiographical play. Flack’s use of two large screens on either side of the stage showing black and white footage emphasised that what we are seeing are Tom’s memories and gave the production a dream-like quality and sense of the past. Luke Mullins was marvellous as Tom and Pamela Rabe was a tough Amanda. My only reservation – there were sightline issues for anyone sitting on the side.

Eight Gigabytes of Hardcore Pornography, Griffin Theatre Company and Perth Theatre Company

A new Australian play by Declan Greene, set in the Internet era, that is emotionally hardcore rather than pornographic. Written with a spiky economy, it features two desperately lonely, middle-aged people full of self-loathing. Steve Rodgers and Andrea Gibbs bared themselves emotionally in extraordinary performances. Directed by Lee Lewis, the production was insightful and painfully sad.

Switzerland, Sydney Theatre Company

Sarah Peirse and Eamon Farren. Photo: Brett Boardman

Sarah Peirse and Eamon Farren. Photo: Brett Boardman

A thrilling new play inspired by the life and writing of Patricia Highsmith in which playwright Joanna Murray-Smith weaves a psychological thriller set in Switzerland at the end of Highsmith’s life. Adroitly directed by Sarah Goodes, Sarah Peirse fully inhabited the role of Highsmith in a magnificent performance, with Eamon Farren also compelling as an emissary from her publisher sent to cajole her into writing another Tom Ripley novel, subtly and convincingly conveying his character’s gradual evolution. Brilliantly constructed, witty and gripping, the play will soon be seen at the Geffen Playhouse in Los Angeles.

Cyrano de Bergerac, Sydney Theatre Company

It was interesting to see Cyrano de Bergerac again, having been bowled over by Sport for Jove’s production at the end of last year. The STC production, featuring an adaptation by Andrew Upton, is very different, retaining the original 17th century setting. Truth be told I preferred Sport for Jove’s production but Richard Roxburgh gave a sublime performance as Cyrano, underpinned at every turn by a deep, dark, painful melancholy. Yalin Ozucelik (who was also wonderful as a more exuberant Cyrano for Sport for Jove) was the perfect foil to Roxburgh, giving a beautifully measured performance as Cyrano’s loyal friend Le Bret. Eryn Jean Norvill was lovely as Roxane.

Children of the Sun, Sydney Theatre Company

Andrew Upton’s adaptation of Maxim Gorky’s play was given an elegant, eloquent production by director Kip Williams. Set in the 1860s, with revolution in the air, it concerns an upper middle class Russian family whose lives are about to change forever. Featuring a fine cast, including Jacqueline McKenzie as the only one who senses what is coming, it was deeply moving.

Clybourne Park, Ensemble Theatre

Tanya Goldberg directed the highly anticipated production of Bruce Norris’s award-winning play for the Ensemble and did a fine job. The first act is set in 1959 in a predominantly white suburb of Chicago, the second in 2009 when the suburb is now mainly home to Afro-Americans. An excellent ensemble had us wincing at some of the attitudes in the provocative, discomforting play. All the cast were terrific but Nathan Lovejoy was outstanding as the bigoted neighbour in Act I and a new, white home buyer in Act II.

A Doll’s House, Sport for Jove

Adam Cook’s beautifully paced, richly nuanced, period production kept you on the edge of your seat. A young woman behind me who didn’t know the play was hysterical with excitement at the end. Matilda Ridgway gave us a multi-faceted Nora in a production that added yet another feather to Sport for Jove’s already well-covered cap.

Howie the Rookie, Red Line Productions and SITCo

One of the best indie theatre productions of the year. Directed by Toby Schmitz at the Old Fitzroy Theatre, Andrew Henry and Sean Hawkins gave exceptional performances as two working class Dubliners telling a blood-and-guts yarn through Mark O’Rowe’s two intersecting monologues. Lisa Mimmocchi designed the perfect minimal space. A dark little gem.

Is This Thing On?, Belvoir Downstairs

A riotous new play by Australian writer/performer Zoe Coombs Marr about a lesbian stand-up comedienne at five stages of her life and career, swirling around the night when it all imploded. Kit Brookman directed on a set by Ralph Myers that captured the feel of a grotty pub. Susan Prior’s no-holds-barred, manic performance was at the heart of the show.

NEW AUSTRALIAN PLAYS

Steve Rodgers and Andrea Gibbs. Photo: Brett Boardman

Steve Rodgers and Andrea Gibbs in Eight Gigabytes of Hardcore Pornography. Photo: Brett Boardman

Besides Eight Gigabytes of Hardcore Pornography, Switzerland and Is This Thing On? there were many strong new Australian plays in 2014 including:

Black Diggers by Tom Wright about Indigenous soldiers who fought during World War I and their appalling treatment when they returned to Australia. Premiered by Queensland Theatre Company and Sydney Festival.

Jump for Jordan by Donna Abela for Griffin Theatre Company, about a young woman born in Australia to Jordanian parents struggling to negotiate the gap between their culture and expectations, and her world.

Krytonite by Sue Smith in which she traced Australia-China relations through a personal relationship between two people who meet at university. Ursula Mills gave a sensational performance as Chinese woman Lian for STC.

Sugarland by Rachael Coopes and Wayne Blair, commissioned by atyp and written after a series of workshops with young people in the Top End town of Katherine. A moving piece about troubled teenagers, both indigenous and non-indigenous, in remote communities, with touching performances by a cast including Hunter Page-Lochard, Dubs Yunupingu and Elena Foreman.

Brothers Wreck by Jada Alberts A heartfelt Indigenous story about a young man called Ruben (Hunter Page-Lochard) struggling to cope with his cousin’s suicide, and his family’s struggle to care for him and keep him safe. A dark but humane, optimistic play, premiered by Belvoir.

M.Rock by Lachlan Philpott about a grandmother (Valerie Bader) who heads to Europe to find her missing granddaughter and becomes a famous DJ, staged by STC and atyp.

The Long Way Home by Daniel Keene, commissioned by STC and the Australian Defence Force and written from first-hand accounts of returned servicemen and women, many suffering post-traumatic stress disorder. The play was performed by returned soldiers alongside four professional actors. A powerful production and a wonderfully enlightened ADF initiative.

Once in Royal David’s City by Michael Gow. A theatre director already searching for meaning spends Christmas with his dying mother. Gow explores numerous themes including political theatre, consumerism, mortality and love. Brendan Cowell gave a searing, raw performance, with Helen Morse as his frail mother in the Belvoir production.

Unholy Ghosts by Campion Decent, premiered by Griffin Theatre Company. Decent’s touching autobiographical play about a playwright torn between his divorced but still warring parents – a grouchy father and diva-like mother – both facing death.

A FEW OTHER HIGHLIGHTS

Handa Opera on Sydney Habour: Madama Butterfly, Opera Australia A stunning, grittily contemporary production directed by Alex Ollé (of La Fura dels Baus) with a heart-breaking performance by Hiromi Omura. And what a location.

Louder Than Words, Sydney Dance Company An exhilarating double bill of works by Rafael Bonachela and Greek choreographer Andonis Fondiakis. I particularly liked Bonachela’s exquisite Scattered Rhymes. And the dancing! Never has the company looked better.

The Bangarra ensemble in Patyegarang. Photo: Jess Bialek

The Bangarra ensemble in Patyegarang. Photo: Jess Bialek

Patyegarang, Bangarra Dance Theatre A luminous production, choreographed by Stephen Page, telling the fascinating “first contact” story of Lieutenant William Dawes and Patyegarang, a young woman of the Eora nation. Told through 13 almost dreamlike scenes and ravishingly staged (set by Jacob Nash, costumes by Jennifer Irwin, lighting by Nick Schlieper, music by David Page), it could have been a little bit more dramatic at times but it was just beautiful.

The Arrangement A collaboration between Australian Dance Artists (veteran dancers Susan Barling, Anca Frankenhaeuser, Patrick Harding-Irmer and Ross Philip), eminent sculptor Ken Unsworth, The Song Company and composer Jonathan Cooper, staged at Unsworth’s studio. A tumult of ever-suprising visual images combined with glorious music and fascinating movement that reverberated with a profound sense of humanity to create a unique and wondrous piece of work.

Skylight in London I was lucky enough to catch Stephen Daldry’s superb production of David Hare’s 1995 play in the West End on a brief visit to London. Featuring the kind of intelligent writing you long to encounter more often, it explores the political through the personal, with nothing cut-and-dried or black-and-white as your sympathies swing back and forth. Bill Nighy and Carey Mulligan were both wonderful.

Limbo, Strut & Fret and Underbelly Productions A dark, sexy, enthralling circus-cabaret show, staged in the Spiegeltent as part of the Sydney Festival that combined jaw-dropping acts with a coherent, netherworld-like aesthetic and a strong sense of drama. It was exhilarating and it sold out fast. If you missed out it’s back at the 2015 Sydney Festival so get booking. I’ll be going back to see it again.

And that’s it. Here’s to a chilled New Year and to many theatrical delights in 2015.

David Harris, Time is a Traveller

Hayes Theatre Co, April 20

David Harris. Photo: supplied

David Harris. Photo: supplied

Musical theatre leading man David Harris is about to jet off to try his luck in New York City. By way of a farewell, he is performing his cabaret show Time is a Traveller at the Hayes Theatre Co.

In the intimate venue – elegantly decked out for the occasion with candles, white flowers and dark drapes – Harris is an understated but warm presence as he reflects on his journey to the stage and the highs and lows of his career.

Head boy at school but by no means the popular, sporty type, he had his first musical experience as Superman in a high school production of Man of Steel, then hit the talent quests before learning his craft on the job during a two-year run of The Boy From Oz. From there he moved on to lead roles in musicals Miss Saigon, Wicked and Legally Blonde.

He traces this journey in a low-key, engaging fashion, lacing his stories with a wry humour and self-deprecating honesty.

Accompanied by wonderful musical director Bev Kennedy on piano, Harris brings his silken voice, with its thrilling top register, to an interesting mix of well-known and less familiar songs among them “The Way You Look Tonight”, “If I Only Had a Brain” from The Wizard of Oz and several songs by Peter Allen, an artist with whom he feels a special affinity.

Highlights include numbers from several musicals he’s been in such as Thoroughly Modern Millie, The Full Monty and Miss Saigon, to which he brings a great deal of emotional nuance, and a spine-tingling rendition of “Bring Him Home” from Les Misérables.

Harris also displays a sure sense of comedy with a hilarious version of “This Is The Moment” from Jekyll and Hyde as you might experience it in an RSL club and springs a very funny surprise with a story about his teacher’s discovery of his gorgeous falsetto.

He also duets with a guest: Marika Aubrey on opening night, Suzie Mathers this week. All in all, Time is a Traveller is a charming, classy show.

Time is a Traveller plays at the Hayes Theatre Co on May 2, 3 and 4. Bookings: www.hayestheatre.com.au

A version of this review ran in the Sunday Telegraph on April 27

The Last of the Red Hot Mamas

Hayes Theatre Co, February 16

Marika Aubrey in The Last of the Red Hot Mamas. Photo: Alek Mak

Marika Aubrey in The Last of the Red Hot Mamas. Photo: Alek Mak

Sophie Tucker (or Sonya Kalish as she started life) was born on the side of the road in the Ukraine into a dirt-poor Jewish family, who eventually migrated to America.

Fedko Kryczko entered the world in a neighbouring village around the same time “in circumstances similarly shitty” as his great-granddaughter Marika Aubrey put it. As a young man, Fedko fled to Australia where Aubrey was later born.

In her new cabaret show The Last of the Red Hot Mamas, Aubrey tells Tucker’s story in a fairly straightforward, linear fashion but weaves through it the story of Fedko and her own visit back to his Ukrainian village.

It brings a nice personal element to the show, giving it another dimension, though in the end it adds little to Tucker’s story and means there is less time to document her life in any depth.

We learn of Tucker’s tough beginnings, the discovery of her voice while singing for tips in her father’s kosher restaurant, the start of her career performing “coon” songs in blackface, and her metamorphosis into the renowned, outrageous star of 1920s vaudeville, known for her comic chops and risqué songs. Nicknamed The Last of the Red Hot Mamas, she was still performing into her late 70s.

Aubrey starts the night in a black and white satin dress with jewellery, headdress and long gloves then gradually removes articles until she is performing in vintage underwear.

Backed by a three-piece jazz band led by Bev Kennedy on piano, she sings a good, varied selection of songs associated with Tucker, among them “Life Upon the Wicked Stage”, “After You’ve Gone”, “The Man I Love”, “Hello My Baby”, “Some of These Days”, “My Yiddishe Momme” and “Nobody Loves a Fat Girl, But Oh How a Fat Girl Can Love” – in which she showcases her own comic facility.

Aubrey has a big, clear singing voice, which she uses well. It’s higher pitched than Tucker’s husky, powerhouse instrument – something she addresses upfront with a quick, light-hearted aside to Kennedy about the key she’ll sing in.

She also has a big personality and commands the small space at the Hayes Theatre Co with ease. Her patter between the numbers is lively and she develops a warm rapport with the audience.

Inevitably, Aubrey is only able to skim the surface of Tucker’s life. What she tells us is fascinating but we are left feeling we’d like to know more. Nonetheless, it’s an entertaining show by an assured, engaging performer.

Produced by Aubrey and Neil Gooding Productions in association with the Hayes Theatre Co, The Last of the Red Hot Lovers has been playing as the first of the Hayes’s Month of Sundays cabaret series. If you want to catch it, you’ll need to get cracking as there’s just one show left.

The Last of the Red Hot Mamas has its final performance at the Hayes Theatre Co, Greenknowe Avenue, Potts Point on Sunday March 2 at 8.30pm. Bookings: www.hayestheatre.com.au