Tag Archives: Pinchgut Opera

The Chimney Sweep

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City Recital Hall, July 5

Stuart Haycock and Amelia Farrugia. Photo: Keith Saunders

Stuart Haycock and Amelia Farrugia. Photo: Keith Saunders

The surtitles before the start of The Chimney Sweep announce the restoration of Salieri’s reputation – and Pinchgut Opera certainly does him proud with this delightful production.

Most people these days would only know Antonio Salieri’s name from the 1984 Academy Award-winning film in which he was depicted as a mediocre composer who poisoned his fierce rival Mozart out of jealousy.

In truth, Salieri was more famous in his day than Mozart and almost certainly did not murder him. But where Mozart is now one of the most performed composers in the world, Salieri’s music is rarely heard.

Thanks to Pinchgut – which dedicates itself to the presentation of rarely seen operas from the 17th and 18th centuries – Sydneysiders have the chance to see the Australian premiere of Salieri’s comic work The Chimney Sweep (Der Rauchfangkehrer). A huge hit when it was first staged in 1781, it all but disappeared after the mid-1800s.

The Chimney Sweep is a rollicking comedy centring on Volpino, a musically gifted chimney sweep who is in love with Lisel, a cook in the household of wealthy widow Mrs Hawk and her stepdaughter Miss Hawk.

Learning that Mr Bear and Mr Wolf have won the lottery and hope to marry the Hawks, Volpino and Liesel cook up a plan to better themselves financially.

Pretending to be an Italian count disguised as a sweep, Volpino uses his musical skills to worm his way into the affections of the Hawks who he then auctions off to Wolf and Bear. From there it spins off into all kinds of comic complications – but as you’d expect it all ends happily.

Right from the start of the overture you can hear the fun in Salieri’s music, emphasised by a quick little leap of joy by Erin Helyard, who conducts the marvellous Orchestra of the Antipodes. The music doesn’t compare to Mozart’s operas (though it is often reminiscent of Mozart) but much of it is lovely and thoroughly enjoyable.

Written as a singspiel in which the musical numbers alternate with dialogue, Pinchgut performs it in English. Director Mark Gaal has translated the dialogue, while Andrew Johnston has translated the lyrics. Both have done a great job. Occasional phrases like “My god, they go ballistic” had the audience chuckling but the translations aren’t so tricksy that they compromise the original 18th century setting.

Gaal has staged a simple but effective production with gorgeous costumes and set by Emma Kingsbury. Performed against a gold wooden backdrop with a huge gargoyle-faced fireplace, and just a few props, Gaal uses signs (flamboyantly displayed by Gary Clementson as the servant Hansel) to announce each new location.

The performers all handle the dialogue and dramatic challenges extremely well, playing the comedy to the hilt, while the ladies really shine vocally. Amelia Farrugia is outstanding as Mrs Hawk and young soprano Janet Todd is also very impressive as Miss Hawk. Together they steal the show.

Stuart Haycock has a fairly light tenor voice but brings plenty of charisma to the role of Volpino. There is strong support from David Woloszko as Mr Bear, Christopher Saunders as Mr Wolf, Alexandra Oomens as Lisel and David Hidden as the master chimney sweep Tomaso, as well as Clementson, Nicholas Hiatt, Troy Honeysett and Sabyrna Te’o as the servants. The Sydney Children’s Choir makes up the cast as Tomaso’s young apprentices.

Overall, The Chimney Sweep is lots of fun and yet another feather in Pinchgut’s already well-covered cap.

The Chimney Sweep has its final performance tonight. Bookings: www.cityrecitalhall.com or 02 8256 2222

2013: The Year That Was

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December 31, 2013

The last day of 2013 seems a good time to look back over what happened on the boards during the last 12 months. Here are some personal arts highlights from Sydney theatre predominantly: productions and people that will live on in my memory long past tonight’s Sydney Harbour midnight firework display heralding a new year.

MUSICAL THEATRE

Tony Sheldon, Katrina Retallick and Matt Hetherington in Dirty Rotten Scoundrels. Photo: Kurt Sneddon

Tony Sheldon, Katrina Retallick and Matt Hetherington in Dirty Rotten Scoundrels. Photo: Kurt Sneddon

It was a pretty patchy year in musicals. My two out-and-out highlights were The Production Company’s Gypsy in Melbourne and Dirty Rotten Scoundrels in Sydney.

Gypsy

Caroline O’Connor was phenomenal as Rose, giving us everything we’d hoped for and so much more: a stellar, unforgettable performance that was both monstrous and heartbreaking. For me, it was the musical theatre performance of the year.

Dirty Rotten Scoundrels

Matt Hetherington was impressive as Herbie in Gypsy but really came into his own with a superb performance as the vulgar Freddy Benson in Dirty Rotten Scoundrels. Co-starring with Tony Sheldon – who made a welcome homecoming from the US as the suave Lawrence Jameson, a part tailor-made for him – Scoundrels was a delightful, perfectly cast, stylish, laugh-out-loud production. Amy Lehpamer shone as Christine Colgate and Katrina Retallick was riotously funny in a scene-stealing performance as Jolene Oakes (after another scene-stealing turn in The Addams Family earlier in the year). Scoundrels was a real feather in the cap for up-and-coming producer George Youakim. The show deserved to sell out but despite reviews your mother might write, it struggled at the box office. Instead Sydney audiences opted for the familiar, even when reviews were much less favourable.

Squabbalogic

Confirming its growing value to the Sydney musical theatre scene, indie musical theatre company Squabbalogic led by Jay James-Moody enlivened things immeasurably with terrific productions of Bloody Bloody Andrew Jackson and Carrie with Hilary Cole making an impressive debut as Carrie.

Jesus Christ Superstar

The British arena production starring Tim Minchin, Mel C and Ben Forster really rocked with Tim Minchin in commanding form as Judas – giving a superstar performance, in fact.

ELSEWHERE IN MUSICALS….

The Lion King proved just as stunning visually a second time around but the first act felt flat with the dialogue scenes slowing the action, not helped by some underpowered performances. However, Nick Afoa made a promising debut as Simba.

Premiering in Melbourne, King Kong was an ambitious production and the puppetry used to create Kong himself was breathtaking. In fact, Kong the creature was awesome, the musical’s book less so. Esther Hannaford was lovely as Ann Darrow.

Lucy Maunder was the standout in Grease, owning the role of Rizzo. Her moving rendition of “There Are Worse Things I Could Do” was the emotional and musical highlight of the production.

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

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

Michael Falzon was in superb voice as physicist Leo Szilard in new musical Atomic, giving a beautifully wrought performance. In fact, the entire ensemble was terrific. Written by Australian Danny Ginges and American Gregory Bonsignore (book and lyrics) and Australian Philip Foxman (music and lyrics), the structure of the musical could do with some honing but the show has great potential.

I also enjoyed Jaz Flowers and Bobby Fox in the 21st anniversary production of Hot Shoe Shuffle. And what a treat to be able to see Kristin Chenoweth and Idina Menzel in concert at the Sydney Opera House within 10 days of each other.

THEATRE

It was an impressive year in Sydney theatre both in the mainstream and independent sectors with a large number of excellent productions and performances. Never has the discussion among the Sydney Theatre Critics in the lead-up to the Sydney Theatre Awards (to be presented on January 20 at Paddington RSL) been so protracted, agonised and, at times, heated.

Among my own personal highlights were:

Waiting for Godot, Sydney Theatre Company. Directed by Andrew Upton after an injured Tamas Ascher was unable to fly to Australia, this was a mesmerising production full of tenderness, humanity, pathos and humour to match the bleakness. Richard Roxburgh, Hugo Weaving, Philip Quast and Luke Mullins were all exceptional. Wow to the power of four.

Hugo Weaving, Philip Quast, Richard Roxburgh and Luke Mullins in Waiting for Godot. Photo: Lisa Tomasetti

Hugo Weaving, Philip Quast, Richard Roxburgh and Luke Mullins in Waiting for Godot. Photo: Lisa Tomasetti

The Secret River, Sydney Theatre Company. Eloquently staged by director Neil Armfield, Andrew Bovell’s stage adaptation of Kate Grenville’s novel used both English and the Dharug language to tell the story movingly from both sides.

Rosencrantz and Guildenstern are Dead, Sydney Theatre Company. Another fabulous STC production starring Toby Schmitz and Tim Minchin, directed by Simon Phillips on a brilliant set by Gabriela Tylesova that played with optical illusion.

Angels in America, Belvoir. Staging Parts One and Two, this marvellous production directed by Eamon Flack confirmed that Tony Kushner’s play is a truly sensational piece of writing that sweeps you up in its epic vision. The fine cast included Luke Mullins, Amber McMahon, Marcus Graham and Mitchell Butel – all superb. (Mullins also gave a fine performance in Kit Brookman’s Small and Tired Downstairs at Belvoir. What a year he’s had).

The Floating World, Griffin Theatre. A devastatingly powerful production of John Romeril’s classic Australian play directed by Sam Strong. Peter Kowitz’s performance left you utterly gutted. Valerie Bader was also excellent.

The Motherf**ker with the Hat, Workhorse Theatre Company. The independent scene was unusually strong in Sydney in 2013 and this was one of the real stunners. Directed by Adam Cook in the intimate space at the TAP Gallery, the tough play kept you on the edge of your seat. Troy Harrison and Zoe Trilsbach gave riveting, grittily truthful performances. If you missed it, the production has a return season at the new Eternity Playhouse in September.

Cyrano de Bergerac, Sport for Jove. Sport for Jove’s outdoor Shakespeare productions are now a highlight on the Sydney theatre calendar. Damien Ryan’s production of Edmond Rostand’s sweeping, romantic comedy Cyrano de Bergerac was gloriously uplifting with an inspiring, verbal tornado of a performance by Yalin Ozucelik as Cyrano.

Lizzie Schebesta and Yalin Ozucelik in Cyrano de Bergerac. Photo: Seiya Taguchi

Lizzie Schebesta and Yalin Ozucelik in Cyrano de Bergerac. Photo: Seiya Taguchi

Jerusalem, New Theatre. A wonderful production of Jez Butterworth’s brilliant play directed by Helen Tonkin that has justly snared a large number of nominations at the Sydney Theatre Awards.

Penelope, Siren Theatre Company. Kate Gaul directed a tough, challenging, indie production of Enda Walsh’s play, set in the bottom of a drained swimming pool, which riffs on the ancient myth. Another clever use of the small TAP Gallery, here playing in traverse.

Sisters Grimm. It was great to see the acclaimed, “queer, DIY” Melbourne company in Sydney with two of their trashy, gender-bending, outrageously funny productions: Little Mercy presented by STC and Summertime in the Garden of Eden as part of Griffin Independent. A hoot, both of them. (How drop dead beautiful was Agent Cleave in Summertime in drag and beard?). Can’t wait to see their production of Calpurnia Descending at STC in October.

All My Sons, Eternity Playhouse. The beautiful new Eternity Playhouse, a gorgeous 200-seat venue now home to the Darlinghurst Theatre Company, opened its doors with a fine, traditional production of All My Sons directed by Iain Sinclair with great performances all round, among them Toni Scanlan and Andrew Henry.

OTHER OUTSTANDING PERFORMANCES….

Besides those mentioned above I loved Sharon Millerchip in Bombshells at the Ensemble, Lee Jones in Frankenstein also at the Ensemble, Cate Blanchett in The Maids for STC, Paul Blackwell in Vere for STC, Ewen Leslie in Rosencrantz and Guildenstern are Dead and in Hamlet at Belvoir (where he took over from Toby Schmitz whose performance I also liked very much), John Bell as Falstaff in Bell Shakespeare’s Henry 4 and Damien Ryan as Iago in Sport for Jove’s Othello.

OPERA AND BALLET

The Ring Cycle, Opera Australia. I was lucky enough to see The Ring Cycle in Melbourne. It was my first Ring and I was utterly thrilled by it. Numerous visual images will stay with me forever as will performances by Terje Stensvold, Stefan Vinke, Susan Bullock, Warwick Fyfe and Jud Arthur among others. As is his forte, director Neil Armfield brought the relationships to the fore and found enormous emotion and humanity. Conductor Pietari Inkinen, who took over at short notice, harnessed the musical forces superbly. A very special experience.

David Hansen and Celeste Lazarenko. Photo: Keith Saunders

David Hansen and Celeste Lazarenko. Photo: Keith Saunders

Giasone, Pinchgut Opera. At the other end of the spectrum, small-scale, indie company Pinchgut delivered a sparkling production of Francesco Cavalli’s baroque opera with countertenor David Hansen dazzling in the title role.

Cinderella, Australian Ballet. Alexei Ratmansky’s beautiful, witty Cinderella was a joy with some meltingly lovely pas de deux for Cinderella and her Prince, divinely performed by Leanne Stojmenov and Daniel Gaudiello. Jerome Kaplan designed the gorgeous costumes and some clever surrealist staging effects.

VISITING PRODUCTIONS AND ARTISTS

How lucky we were to see Angela Lansbury and James Earl Jones in Driving Miss Daisy, the National Theatre’s brilliantly bonkers production of One Man, Two Guvnors, Kneehigh Theatre’s Brief Encounter, the Paris Opera Ballet’s exquisite Giselle, Semele Walk at the Sydney Festival, which gave Handel’s oratorio a wacky twist in a catwalk production with costumes by Vivienne Westwood, and firebrand soprano Simone Kermes singing with the Australian Brandenburg Orchestra.

There was much, much more. Barry Humphries‘ Weimar cabaret concert for the Australian Chamber Orchestra, for example. In the end, too much good stuff to mention it all.

And now, bring on 2014….

Giasone

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City Recital Hall, Sydney, December 5

David Hansen and Celeste Lazarenko. Photo: Keith Saunders

David Hansen and Celeste Lazarenko. Photo: Keith Saunders

Pinchgut Opera adds immeasurably to Sydney’s operatic life with its annual (and next year, two) productions of a baroque opera.

This year it is staging Francesco Cavalli’s Giasone, first performed in Venice in 1649. Hugely popular in its day, it was revived all over Italy for 40 years.

You can see why. Though the paper-thin plot is somewhat ridiculous, it’s rollicking good fun as well as downright steamy at times – with passion and tragic poignancy too. And the music is glorious.

The story of the opera is loosely based on the Greek myth of Jason and the Argonauts and the search for the Golden Fleece. In a nutshell, during his quest Jason has seduced and then abandoned Isifile, Queen of Lemnos, despite fathering twin boys with her.

He is now passionately involved with Medea, Queen of Colchis (though he doesn’t know her identity), who uses magic to help him capture the Fleece. When Isifile reappears, Giasone plots her murder but the wrong queen goes over the cliff (leading to one of the funniest lines of the night from Giasone’s personal servant Ercole, “I only kill one queen per day.”)

Medea survives her plunge into the sea and all ends happily (Cavalli doesn’t include her murder of her children with Jason) with Medea returning to former lover Egeo and Jason to Isifile.

Unlike his colleague Monteverdi, Cavalli happily combines grand drama and low comedy in robust fashion, while the music has a dance-like vitality at times as well as a languorous, haunting beauty at others.

The opera originally ran around four hours but conductor Erin Helyard has here trimmed it back to a more manageable two-and-a-half hours including interval. Helyard’s passion for the music is palpable and infectious. He is in constant motion as he conducts, almost dancing as he channels the score while mouthing the words. He’s a joy to watch.

Chas Rader-Shieber who directs and co-designs with Katren Wood helms a deliciously tongue-in-cheek production that makes the most of the comedy while managing to balance it with the underlying passion.

The only moment that doesn’t quite work is when Isifile, expecting to be murdered by Giasone, asks that he kills her slowly but begs that her breasts not be mutilated so that her babies can suckle cold milk at her breast one last time – a gruesome image, but a line that it would be hard to pull off in this day and age. On opening night there was laughter.

The staging is economical but effective with an in-built proscenium, two gauzy curtains, a couple of doors in a back wall, and a few well chosen props. The contemporary costumes work extremely well too.

David Hansen is superb as incorrigible love-rat Giasone. Making an unforgettable, wonderfully camp entrance in a pink bath, naked apart from a few bubbles, he makes a dashingly handsome, charismatic Giasone whether in white naval suit or itty-bitty pink towel.

But even more beautiful is his rich, soaring, shining countertenor: a gorgeous instrument that he uses with great skill and an innate sense of drama. He is also a fine actor and whatever the vicissitudes of the plot, he manages to make them convincing.

Celeste Lazarenko is also in fine, versatile voice as the spirited Medea, well matched with Hansen in their duets. Sexy in her long red gown, she gives a strong performance dramatically, while Miriam Allan brings dignity and stillness to Isifile, singing with a pure, true voice.

The rest of the cast all create vividly drawn, well-sung characters: Andrew Goodwin as Egeo, Medea’s faithful, noble lover, Nicholas Dinopoulos as Giasone’s disapproving servant Ercole, and David Greco as Isifile’s servant Oreste.

In the buffo roles, tenor Adrian McEniery is very funny as the nurse, cross-dressed in a smart two-piece suit with a comically unflattering wig, handbag and hairy legs, while Christopher Saunders does his best with Demo, Egeo’s stammering, hunchback servant, here given a leg calliper – the one character that feels dated.

As the young, lithesome servant Alinda, Alexandra Oomens, who is still studying at the Sydney Conservatorium of Music, shows great promise with a lovely voice.

All in all, it’s a stunning production and another feather in Pinchgut’s already well-covered cap.

There’s one more performance today. Opera lovers shouldn’t miss it.

Giasone plays at City Recital until December 9. Bookings: 02 8256 2222