Little Shop of Horrors

Hayes Theatre Co, February 23

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Tyler Coppin as Mr Mushnik and Brent Hill as Seymour (with Audrey II). Photo: Jeff Busby

The Hayes Theatre Co burst onto the scene in February 2014 with a brilliantly re-imagined production of Sweet Charity. Two years later, the same creative team, led by director Dean Bryant, has reunited to stage Alan Menken and Howard Ashman’s 1982 cult musical Little Shop of Horrors.

Naturally, expectations were high but this pitch-perfect production (from Luckiest Productions and Tinderbox Productions) exceeds them.

Based on Roger Corman’s 1960 black-and-white schlock-horror film, Menken has described Little Shop of Horrors as “a merry little musical romp about how greed will end the world”.

Set in the early 1960s, a downtrodden, dorky florist’s assistant on Skid Row called Seymour Krelborn dreams of a better life and winning the love of his equally put-upon co-worker Audrey, who is dating a sadistic dentist.

When Seymour discovers a strange plant, which he calls Audrey II, fame and fortune follow. But the plant needs human blood to survive and its appetite just keeps growing. Seymour must decide how and whether to keep feeding it.

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Esther Hannaford as Audrey, Brent Hill as  Seymour and Audrey II. Photo: Jeff Busby

With a wonderfully catchy score drawing on 1960s rock and doo-wop, a tight plot and razor-sharp lyrics, Little Shop has long been a crowd-pleaser. But Bryant’s superb production gives the show a fresh heart and dark edge that could hardly be bettered, balancing the show’s spoofy comedy and gritty themes perfectly.

Much of it is laugh-out-loud funny but we never lose sight of the fact that the plant feeds on greed and self-interest (even if it comes from a heartfelt, innocent place) as well as human flesh. It is also a metaphor for every fear about being invaded and consumed whether by aliens or migrants, communism or capitalism, anything we might consider threatening.

Owen Phillips’ superb, off-kilter set with its drab florist shop and clever projections on a front curtain embodies an inspired surprise in the way it plays with colour, while the plant itself is a series of remarkable, ever-bigger puppets by Sydney-based company Erth Visual & Physical Inc., eventually taking over most of the stage. When the plant gets its teeth into a full, meaty meal, it’s so well choreographed it’s stomach-turningly convincing.

Tim Chappel’s costuming is gorgeously kitsch, and Andrew Hallsworth’s witty choreography is sensational, ranging from a modern take on 1960s girl group moves to a hilarious Russian/Jewish folk dance with squatting kicks and turns for “Mushnik and Son”. Brought to vibrant, heightened life by Ross Graham’s lighting, the production is an eye-popping visual delight.

Musically the production is terrific too, performed by a five-piece offstage band led by musical director Andrew Worboys. At times, in a minor quibble, the sound is a bit loud for the tiny Hayes but that won’t be an issue when the production goes into larger venues on its national tour.

Bryant has cast the show beautifully. As Seymour and Audrey, two lost souls who briefly glimpse happiness, Brent Hill and Esther Hannaford give the production an aching heart.

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Esther Hannaford and Brent Hill. Photo: Jeff Busby

Hill is totally endearing as Seymour. In an intriguing move, Bryant has Hill voice the plant too, which opens up Seymour’s relationship with Audrey II to various interpretations. It means that Hill sings an extraordinary duet with himself in “Feed Me (Git It)”. It’s hugely demanding technically but Hill does it so superbly (a vocal tour de force) you don’t even realise he’s doing it initially.

Hannaford is exquisite as the ditsy Audrey, conveying her vulnerability and painful lack of self-esteem. Her comic timing is impeccable and her ravishing voice shimmers with emotion whether it’s gently caressing a ballad or soaring into the stratosphere. “Suddenly Seymour”, which she sings with Hill is a spine-tingling musical highlight.

Ellen Greene, who played Audrey in the original production and Frank Oz’s 1986 film, famously gave the character a girlish, breathy voice complete with lisp. Hannaford’s accent is less pronounced than that (mercifully) but mixes an Eastern European tinge into the New York drawl, which works well.

Scott Johnson is hilarious as the psychopathic dentist who gets high on nitrous oxide while inflicting pain, giving him a knowing swagger. Tyler Coppin is also very funny as the mercenary, unmensch Mr Mushnik.

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Angelique Cassimatis, Chloe Zuel and Josie Lane. Photo: Jeff Busby

As the sassy girl-group Greek chorus, Angelique Cassimatis, Josie Lane and Chloe Zuel each have a fierce individual presence and voice while harmonising tightly, raising the roof.

Bryant brings it all together in a production that is dazzlingly entertaining, creepy in a comical kind of way and yet tough enough to get under your skin and keep you pondering it long after the lights have gone down. Utterly brilliant.

Little Shop of Horrors plays at the Hayes Theatre Co until March 19. It then tours to Adelaide Festival Centre from April 20 – 29; Comedy Theatre, Melbourne from May 4– 12; Canberra Theatre Centre from May 25 – 29; QPAC, Brisbane from June 1 – 9; Roslyn Packer Theatre, Sydney from July 20 – 24; His Majesty’s Theatre, Perth from August 4 – 7.

 A version of this review ran in the Sunday Telegraph on February 28

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2015: The Year That Was in Sydney Theatre

Looking back over the 167 productions (theatre, musicals, dance, opera and cabaret) I saw in 2015, there was some terrific mainstage theatre but it was in the independent sector this year that many of my real highlights occurred. There were some outstanding performances across both, including a number of unforgettable solo turns.

As for musicals, the commercial scene was generally much more impressive than last year, thanks to a couple of exceptional productions, while independent musical theatre continued to thrive led by the invaluable Hayes Theatre Co. Not only did the Hayes shine a light on many little known shows and talented, emerging performers but it also provided the opportunity for several impressive directorial debuts.

So, here goes with my personal highlights for the year.

MUSICALS

Matilda the Musical

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“When I Grow Up” in Matilda. Photo: James Morgan

 Tim Minchin and writer Dennis Kelly took the irreverent genius of Roald Dahl and made it sing on stage in Matilda The Musical, one of the most original and exciting new musicals in ages. The Royal Shakespeare Company production is an inspired piece of theatre and the Australian cast did it proud, thrilling adults and “maggots” alike. James Millar was a hoot as the monstrous Miss Trunchbull and Elise McCann was a quietly radiant Miss Honey, while the four young girls who played Matilda – Molly Barwick, Bella Thomas, Sasha Rose and Georgia Taplin – did a fine job, as did all the children in the cast.

Les Misérables

Cameron Mackintosh’s 25th anniversary production arrived in Sydney after its Melbourne season and stormed the barricades once more. Stellar turns by Simon Gleeson as Valjean and Hayden Tee as Javert gave the production a profound emotional power and Kerrie Anne Greenland made a powerhouse professional debut as Eponine.

The Sound of Music

Julie Andrews’ portrayal of Maria in the film of The Sound of Music is indelibly imprinted in most people’s mind. But Amy Lehpamer made the role her own with a sensational performance that confirms she is, without question, one of the stars of Australian musical theatre.

Amy Lehpamer, Stefanie Jones and child cast in The Sound of Music (c) James Morgan

Amy Lehpamer, Stefanie Jones and the child cast in The Sound of Music. Photo: James Morgan

Lehpamer has been riding a wave for a while now, and showing what an incredibly versatile performer she is. This year alone she has played Janet in The Rocky Horror Show (one of the few good things in a horribly glib production, with Craig McLachlan giving a shamelessly indulgent performance as the hammiest, least sexy Frank N Furter I’ve ever seen), followed by the glamorous Tracy Lord in High Society and now Maria in The Sound of Music. Coming after lovely performances as Christine Colgate in the musical comedy Dirty Rotten Scoundrels and the sassy, fiddle-playing Reza in Once, Lehpamer shows she has got the lot.

This revival of The Sound of Music is a scaled-back version of one first seen at London’s Palladium in 2006 and while some of the sets look less than lavish – the hills are hardly rolling in the opening scene – it’s still a lovely production. Jacqui Dark’s humane portrayal of the Mother Abbess and soaring rendition of Climb Ev’ry Mountain is another highlight.

INDEPENDENT MUSICALS

Once again, some fabulous indie musicals emanated from the Hayes. Leader of the pack for me, by a whisker, was Violet, closely followed by Heathers, Dogfight and High Society, while Man of La Mancha was a high in a patchy year for Squabbalogic.

Violet

Blue Saint Productions - Violet - Grant Leslie Photography

Samantha Dodemaide as Violet. Photo: Grant Leslie

Mitchell Butel made a brilliant directorial debut at the helm of Violet. He displayed a sure, sensitive touch, keeping the action flowing, the different time frames clear, and the focus where it needed to be.

He also drew truthful, beautifully delineated performances from a well-chosen cast led by Samantha Dodemaide, who glowed as Violet, a young woman who crosses the US by bus hoping that a televangelist will heal a disfiguring scar on her face. Everything about the production was spot-on ensuring that the sweet, gently charming musical knocked you for six emotionally without ever becoming corny.

Heathers the Musical

 Trevor Ashley also directed his first musical this year at the Hayes, and showed that he too has got what it takes. His high-energy production of Heathers the Musical leapt off the stage at you and he pitched the dark, camp comedy just right. Jaz Flowers brought a surprising depth to Veronica while belting the hell out of her songs, Lucy Maunder was very funny as queen bitch Heather Chandler and there were impressive debuts from Stephen Madsen as the psychopathic, James Dean-like J.D. and Lauren McKenna as the bullied Martha and loopy, New Age teacher Ms Fleming.

Dogfight

 Like Violet, Dogfight is a sweet, tender little musical though it spins around a vile prank, causing some to find the show misogynistic. Director Neil Gooding handled this sensitively, clearly showing why the young marines are so full of pumped-up machismo. Hilary Cole as the gauche young waitress Rose and Luigi Lucente as Eddie, the marine who tricks her then falls for her, moved me to tears.

High Society

High Society got a mixed response but I very much liked Helen Dallimore’s production ingeniously staged by Lauren Peters in the tiny Hayes. Daryl Wallis’s jazz quartet arrangements worked a treat, Amy Lehpamer shone as Tracy, while Virginia Gay gave one of the musical theatre performances of the year as Liz, the newspaper photographer quietly in love with her colleague Mike (Bobby Fox). Her performance was full of lovely, surprising little details, her comic timing was immaculate and she knew exactly how to deliver Cole Porter’s songs.

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Virginia Gay and Bobby Fox in High Society. Photo: Kurt Sneddon

Man of La Mancha

Jay James-Moody’s inventive, low-tech staging of Man of La Mancha was a highlight of Squabbalogic’s 2015 season. Set entirely in a prison dungeon (set by Simon Greer, costumes by Brendan Hay), the gritting reimagining brought new life and emotion to the somewhat hoary old musical. Having the cast play various musical instruments also worked well. At the heart of the production, Tony Sheldon’s Cervantes was dignified, frail and very moving.

MUSICAL ON THE HIGH SEAS

Priscilla, Queen of the Desert

 The Norwegian Epic, a cruise liner sailing around the Mediterranean, is known for its entertainment and is currently staging terrific productions of Priscilla and Burn the Floor in its 750-seat theatre. Priscilla stars several Australians among its international cast. Rohan Seinor is sublime as Bernadette bringing enormous warmth, humanity and wit to the role, while Joe Dinn anchors the show as an endearing Tick. I must declare that I went to see my son Tom Sharah, who is a very sassy Miss Understanding. Staged by Australians (director Dean Bryant, choreographer Andrew Hallsworth, costume designer Tim Chappel) it’s a sparkling production – Priscilla, Queen of the Ocean!

MAINSTAGE THEATRE

After Dinner

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Helen Thomson, Rebecca Massey and Anita Hegh in After Dinner. Photo: Brett Boardman

Sydney Theatre Company began the year with a pitch-perfect production of Andrew Bovell’s excruciatingly funny yet tender comedy After Dinner, set in a 1980s pub bistro. Alicia Clements’ set was spot-on down to the icky carpet and yellowing tiles on the wall, while her costumes were 1980s fashion at its hilarious worst. Imara Savage directed a superb cast who had you laughing uproariously yet feeling for the sad, loner characters.

The Present

2015 was Andrew Upton’s last year as artistic director of STC (though he has programmed the 2016 season, which incoming artistic director Jonathan Church will caretake). The Present was a wonderful parting gift. Adapted by Upton from Chekhov’s early, sprawling play Platonov but set in the mid-1990s with the main protagonists now in their mid-40s rather than their 20s, the blistering production was awash with yearning, regret and frustration – as well as plenty of gun shots. Helmed by Irish director John Crowley, there were superb performances all round from the top-notch ensemble cast, which included Cate Blanchett and Richard Roxburgh giving the performance of his career.

Endgame

 Upton also directed an engrossing production of Beckett’s bleak but surprisingly funny absurdist play Endgame for STC. Staged on an imposing, monumental set by Nick Schlieper that reeked of foreboding (beautifully lit by Schlieper too), Hugo Weaving gave a masterful performance as Hamm, mesmerising with the dynamic range of his voice. Dark and difficult but thrilling stuff.

Suddenly Last Summer

Also at STC, Kip Williams directed a highly inventive production of Tennessee Williams’ Suddenly Last Summer, which synthesised live performance and video more completely than we have seen previously on the Sydney stage. Not everyone was convinced but after a slow start, I found the production worked its magic to deliver an intense telling of the surreal, dreamlike play. Among a strong cast, Eryn Jean Norvill was exquisite as Catharine who is administered the “truth drug” to reveal the details of her cousin’s terrible death.

Ivanov

Belvoir’s new artistic director Eamon Flack got the balance between comedy and despair just right when he directed his own adaptation of Chekhov’s Ivanov, set in contemporary Russia. Ewen Leslie was compelling as the self-loathing Ivanov but all the cast gave a very human account of people struggling to get by in a society obsessed with self and money. They sang with great vitality too in a production full of music.

My Zinc Bed

Mark Kilmurry, the Ensemble’s incoming artistic director, helmed an elegant production of David Hare’s My Zinc Bed, an intriguing play of ideas centring on addiction and driven by Hare’s heightened use of language. Sean Taylor was magnificent as the suave, Mephistophelian Victor, hinting at the emptiness within.

The Tempest

For his final production as artistic director of Bell Shakespeare, the company he founded 25 years ago, John Bell directed a lyrical production of The Tempest, staging the romantic tale of forgiveness and reconciliation with an eloquent simplicity and deft lightness. Matthew Backer was spellbinding as the spirit Ariel, his singing evoking the magic in the isle.

INDEPENDENT THEATRE

Of Mice and Men

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Andrew Henry and Anthony Gooley. Photo: Marnya Rothe

 Iain Sinclair directed a beautiful, understated production of John Steinbeck’s Of Mice and Men for Sport for Jove that felt utterly truthful. Andrew Henry as the simple-minded Lennie, a gentle giant unaware of his own strength, and Anthony Gooley as his loyal friend George broke your heart. The off-stage shooting of the dog reduced some to tears too.

The Aliens

In Annie Baker’s The Aliens, about a couple of slackers in their 30s who take a younger man under their wing, not much seems to happen but plenty bubbles away beneath the surface. Craig Baldwin’s direction, Hugh O’Connor’s design and the performances by Ben Wood, Jeremy Waters and James Bell made for a deeply affecting piece of theatre.

The Aliens was just one of several memorable productions staged at the Old Fitz. It was great to see the tiny pub theatre in Woolloomooloo flying high again under Red Line Productions. There was a focus on male issues and casts in their 2015 program, which they have acknowledged and plan to address in 2016, as has Darlinghurst Theatre Company in the wake of debate about the gender imbalance in Australian theatre.

Cock

Red Line Productions presented a taut production of Mike Bartlett’s provocatively named play Cock about a love triangle between two men and a woman. Shane Bosher’s production, staged on a gleaming white stage, crackled with tension, with Michael Whalley and Matilda Ridgway turning in particularly fine performances.

The Dapto Chaser

Mary Rachel Brown’s keenly observed play The Dapto Chaser, presented as part of Griffin Independent, is an unflinching, extremely funny yet poignant look at the world of greyhound racing through the story of one struggling family. Glynn Nicholas’s production felt utterly authentic and the way the family’s dog Boy Named Sue was evoked through mime and panting noises was just brilliant.

SOLO SHOWS

2015 was notable for several excellent solo theatre shows.

Thomas Campbell gave a tour de force performance as the disturbed evangelistic Thomas Magill in Enda Walsh’s demanding play Misterman in a superb production directed by Kate Gaul at the Old Fitz.

Kate Cole was remarkable in the Red Stitch Actors Theatre production of Grounded by George Brant, playing a ‘top gun’ fighter pilot who finds herself flying drones after she has a child and struggling to deal with the schism between operating in a war zone one moment then driving home to family life. Extraordinary theatre.

Belinda Giblin in Blonde Poison (c) Marnya Rothe

Belinda Giblin in Blonde Poison. Photo: Marnya Rothe

Belinda Giblin turned in a riveting performance as Stella Goldschlag, a blonde Jewish woman living in Berlin during World War II who worked for the Gestapo, in Gail Louw’s unsettling, provocative play Blonde Poison directed by Jennifer Hagan at the Old Fitz.

Amanda Muggleton charmed audiences at the Ensemble with an exuberant, generous, comic performance in Roger Hall’s highly entertaining play The Book Club about a bored housewife looking to spice up her life. Muggleton was in her element as she conjured all the women in the book group as well as other characters.

Ben Gerrard also slipped effortlessly between a number of characters and accents as Charlotte von Mahlsdorf, a Berlin transvestite who survived the Nazis, giving a lovely subtle performance in Doug Wright’s play I Am My Own Wife directed by Shaun Rennie at the Old Fitz.

Jeanette Cronin gave a very lively impression of Bette Davis in Queen Bette, which she devised with director/producer Peter Mountford, capturing her clipped way of speaking and fierce presence while taking us through her life at the Old 505 Theatre.

Irish actor Olwen Fouréré gave an astonishingly expressive performance, physically and vocally, in Riverrun, her adaptation of James Joyce’s fiendishly difficult Finnegan’s Wake with its own language, at Sydney Theatre Company.

CABARET

My pick of the cabaret shows I saw this year are:

Josie Lane’s Asian Provocateur

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Josie Lane. Photo: supplied

An outrageously funny, sweet, ballsy and, yes, provocative, piece by a little dynamo-of-a-performer who is, as she puts it, of an “Asian persuasion”. Taking us through her life and career, Lane was hysterically funny but had serious points to make about prejudice and narrow-minded casting.

Phil Scott’s Reviewing the Situation

A cleverly written and structured piece (co-written by Scott and director Terence O’Connell) taking us through the rags-to-riches-and-back-again story of British composer Lionel Bart. Scott embodied the Cockney Bart brilliantly and gee did his fingers fly across the piano keys.

Tim Freedman’s Everybody’s Talkin’ ‘bout Me

Looking suitably shambolic, Freedman took us into the mind and musical world of the enigmatic, self-destructive Harry Nilsson. Co-written by Freedman and David Mitchell, the show felt convincingly conversational in tone, while Freedman deployed his own innate charm in a winning bio-cabaret.

OPERA

 Faust

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Nicole Car and Teddy Tahu Rhodes in Faust. Photo: Lisa Tomasetti

 Sir David McVicar’s production is impressive in its own right but it was the central performances by Michael Fabiano, Nicole Car and Teddy Tahu Rhodes that made the Opera Australia production so exciting.

Car – a young Australian soprano who made such an impression with her radiant performance as Tatyana in last year’s Kasper Holten’s production of Eugene Onegin for OA – confirmed her extraordinary talent. In her role debut as Marguerite, her singing had a sweet, luscious beauty and was full of emotion. She is also a strong actor, her early innocence every bit as convincing as her later anguish. Towards the end of 2015, Car made her debut at the Royal Opera House, Covent Garden as Micaela in Carmen, followed by a return to Tatyana, receiving rave reviews. A rising star indeed.

Other memorable productions in OA’s 2015 season included the revival of Elijah Moshinsky’s Don Carlos with Ferruccio Furlanetto as Philip II, Latonia Moore, Diego Torre and Jose Carbo; and McVicar’s new production of The Marriage of Figaro with Taryn Fiebig as Susanna and Nicole Car as the Countess.

DANCE

Frame of Mind

Only six companies in the world have been allowed to perform William Forsythe’s sublime contemporary dance classic Quintett – and Sydney Dance Company showed why they are one of the chosen few. Paired with a moving new work by Rafael Bonachela called Frame of Mind, this thrilling double bill was contemporary dance at its most exhilarating.

The Sleeping Beauty

Artists of The Australian Ballet in David McAllister's The Sleeping Beauty. 2015. photo Jeff Busby_0

Artists of the Australian Ballet in The Sleeping Beauty. Photo: Jeff Busby

 Lavishly designed by Gabriela Tylesova, The Australian Ballet’s new production of The Sleeping Beauty is breathtakingly beautiful.

Created by artistic director David McAllister, it’s a very traditional production with McAllister retaining key passages of Marius Petipa’s original choreography and devised linking material in a similar classical style.

The storytelling is crystal clear, with elements incorporated from other versions, but the production feels a bit safe at times with room for more dramatic tension between the forces of good and evil. Visually though, it’s a triumph. Tylesova’s sumptuous sets feature baroque and rococo elements, while her costumes use an intoxicating range of colour and feature some of the prettiest tutus imaginable. Lana Jones as Aurora, Kevin Jackson as the Prince and Amber Scott as the Lilac Fairy all shone at the Sydney opening, while Chengwu Guo and Ako Kondo lit up the stage as the Bluebird and Princess Florine.

 Conform

 At Sydney Dance Company’s showcase of emerging choreographers New Breed, Kristina Chan’s Conform was an exciting highlight. A punchy piece about masculinity, it has its own distinctive choreographic voice and plenty to say. Chan is already a thrilling dancer. I can’t wait to see her next choreographic venture.

Departures

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Susan Barling, Patrick Harding-Irmer, Anca Frankenhaeuser, Ross Philip and Ken Unsworth. Photo: Regis Lansac

Australian Dance Artists (Susan Barling, Anca Frankenhaeuser, Patrick Harding-Irmer, Ross Philip and Norman Hall) collaborated again with eminent sculptor and artist Ken Unsworth on a new production called Departures. Part-performance, part-installation, with live music, it was a fascinating ride into a strange world full of stunning visual imagery and evocative choreography. Magical.

RISING STARS

Amy Lehpamer (see The Sound of Music), Nicole Car (see Faust) and Kristina Chan (see above) are all rising stars with talent to burn. Add to that list Australian Ballet dancer Benedicte Bemet. Few were surprised when Bemet won the 2015 Telstra Ballet Dancer Award. Still only 21 and a coryphée, she is already dancing lead roles for the Australian Ballet like Clara in The Nutcracker. She made her debut recently as Aurora in The Sleeping Beauty and apparently the audience went wild, giving her a standing ovation after the Rose Adagio and at the final curtain. I predict a big future.

That’s it folks! There are so many other things I enjoyed during 2015 – too many to include here. Wishing you all a Happy New Year and lots of happy theatre-going in 2016.

 

Little Shop of Horrors is Back for More Blood

Brent Hill will play Seymour and Esther Hannaford will play Audrey in the new Hayes Theatre Co production of Little Shop of Horrors. Photo: supplied

Brent Hill will play Seymour and Esther Hannaford will play Audrey in the new Hayes Theatre Co production of Little Shop of Horrors. Photo: supplied

In February 2014, the Hayes Theatre Co burst onto Sydney’s musical theatre scene with a brilliantly re-imagined, award-winning production of Sweet Charity, which later had a return season at the Sydney Opera House and then toured.

Now, as revealed in today’s Sunday Telegraph, the same creative team is reuniting almost exactly two years later to stage a production of Little Shop of Horrors, produced by Luckiest Productions and Tinderbox Productions.

Dean Bryant will direct with musical direction by Andrew Worboys, choreography by Andrew Hallsworth, set design by Owen Phillips, costume design by Tim Chappel, lighting design by Ross Graham and sound design by Jeremy Silver.

The kooky musical about a man-eating plant will open at the Hayes in February then tour nationally.

“We had so much fun (on Sweet Charity),” says Lisa Campbell of Luckiest Productions.

“We were very fortunate that Sweet Charity got the life that it did and I’m very proud of what the creative team produced. It was a very special time. It’s not that we’re trying to rebottle that but the team worked so incredibly well together it makes sense to jump back on the bus and do another one.”

A national tour has already been locked in for logistical reasons, says Campbell: “With the amount of musicals in the market over the next year or so it would have been very difficult to wait and see how the Hayes season went and hope for a transfer and extension afterwards so we had to think about it in those terms. We also decided that if we were going to be able to do the show that we wanted, we needed to have enough venues to support it as we wanted the plant to be as spectacular as possible.”

Little Shop of Horrors was written by composer Alan Menken and lyricist Howard Ashman, who went on to co-write the songs for Disney’s animated films The Little Mermaid, Beauty and the Beast and Aladdin. (The Disney musical of Aladdin opens in Sydney next August). Little Shop premiered off-off Broadway in 1982 then ran off-Broadway for five years.

Set in the early 1960s, Seymour Krelborn is a hapless, meek florist’s assistant on Skid Row, who dreams of a better life and winning the love of his co-worker Audrey. When he discovers a strange plant, which he calls Audrey II, fame and fortune follow. But as Audrey II grows, so does its appetite for human flesh.

Based on Roger Corman’s 1960 film, Menken has described the musical as “a merry little musical romp about how greed will end the world.”

The catchy score is composed in the style of 1960s rock and roll, doo-wop and early Motown with songs including Feed Me, Suddenly Seymour and Somewhere That’s Green.

“I think the music is spectacular and I think the story is tragic and beautiful and hilarious. When we got to the Hayes, it was one of the first things that I thought deserved to be on that stage and would suit it,” says Campbell.

The new Hayes production features a top-notch cast with Brent Hill (Rock of Ages, Once) as Seymour, Esther Hannaford (King Kong, Miracle City) as Audrey, Tyler Copin (Chitty Chitty Bang Bang) as the florist Mr Mushnik and Scott Johnson (Jersey Boys) as Audrey’s sadistic dentist boyfriend, along with Angelique Cassimatis, Josie Lane, Chloe Zuel, Dash Kruck and Kuki Tipoki.

Brent Hill and Esther Hannaford with Audrey II. Photo: supplied

Brent Hill and Esther Hannaford with Audrey II. Photo: supplied

Audrey II is being created by Erth, a theatre company known for its extraordinary puppets in shows such as Dinosaur Zoo. Campbell, who had been aware of their work for several years, went to talk with them 18 months ago.

“I met with Steve Howarth, one of the founders of Erth, and I said, ‘I’m not sure if you’re aware of the musical Little Shop of Horrors but I need somebody to create a man-eating plant.’ He looked at me and said, ‘I’ve been waiting for 25 years for somebody to ask me to do this,’” says Campbell.

“We have three versions of Audrey II and within each of those there is room for the plant to grow. It’s very exciting.”

The Hayes will unveil the rest of its program for the first half of 2016 at a launch tomorrow night.

A version of this story appeared in the Sunday Telegraph on October 18

TOUR DATES

 Sydney – Hayes Theatre Co from February 18th 2016

TICKETS ON SALE NOW

hayestheatre.com.au or ticketmaster.com.au

Adelaide – Her Majesty’s Theatre from April 20th 2016

TICKETS ON SALE WEDNESDAY 28TH OCTOBER

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Melbourne – Comedy Theatre from May 4th 2016

TICKETS ON SALE MONDAY 30TH NOVEMBER

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Canberra – Canberra Theatre from May 25th 2016

TICKETS ON SALE WEDNESDAY 25TH NOVEMBER

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Brisbane – Playhouse Theatre QPAC from June 1st 2016

TICKETS ON SALE MONDAY 30TH NOVEMBER

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Sweet Charity remount

Playhouse Theatre, Sydney Opera House, January 16

Verity Hunt-Ballard as Charity. Photo: Jeff Busby

Verity Hunt-Ballard as Charity. Photo: Jeff Busby

In February last year, the Hayes Theatre Co burst onto the Sydney musical theatre scene with a thrilling production of Sweet Charity directed by Dean Bryant and starring Verity Hunt-Ballard.

The ingeniously staged, dirtied-up, gritty take on the 1966 musical had audiences and critics raving (you will find my review on this blog) and three days after opening you couldn’t get a ticket for love nor money.

The show went on to win three Helpmanns for Bryant, Hunt-Ballard and choreographer Andrew Hallsworth and has nine nominations at the 2014 Sydney Theatre Awards to be presented tomorrow (January 19).

The announcement of a remount at the Sydney Opera House’s 400-seat Playhouse Theatre and then a tour to Canberra, Melbourne and Wollongong generated much excitement. But how would the production – created for the intimacy of the 110- seat Hayes Theatre – fare in a bigger venue?

Well, it has sashayed seamlessly into the Playhouse where it received a rapturous response at Friday’s opening night.

Inevitably you lose some of the intimacy but there are compensations. Hallsworth’s fabulous choreography (with nods to Fosse) has more room to sharpen and breathe for starters. And if anything, the performances seem more detailed than ever as most of the original performers revisit their roles.

The grungy staging is essentially the same: an inspired use of a couple of two-way mirrors, a few chairs, a costume rack and a red neon sign at the back saying, “Girls, Girls, Girls” (set design by Owen Phillips).

Tim Chappel has revamped some of the costumes adding extra colour and sparkle to various outfits including the witty, surreal costumes for The Frug, which gives the production a little more visual zing in the larger space.

Hunt-Ballard, who gave a sensational performance last time around as Charity Hope Valentine – the dance hall hostess with a heart of gold who keeps looking for love (and at one point an office job) as a passport to a better life – is more stunning than ever.

She radiates such warmth, such sweet, kooky naivety and such sunny optimism that her Charity is irresistibly endearing. Her comic timing is a knockout but always there is the knowledge that Charity uses ditzy humour to deal with her hurt and pain, as a way to bounce back, until that final, terrible let-down.

Hunt-Ballard inhabits the role completely. She sings superbly, dances well and her acting is sublime. But never do we feel that she is busting out a big song-and-dance number. Always the songs emerge organically from the character and the situation whether it’s the exuberant, show-stopping If My Friends Could See Me Now or Where Am I Going? which she delivers in heartbreaking fashion.

She is beyond divine in the role; it’s hard to imagine anyone playing Charity better.

Bryant brings this kind of truth to every aspect of the production. Character and emotion colour every song. Hey Big Spender erupts with the crowd-pleasing blast you expect but the girls look blank, emotionally shutdown, as they display their wares in the meat-market line-up.

Verity Hunt-Ballard, Kate Cole and Debora Krizak. Photo: Jeff Busby

Verity Hunt-Ballard, Kate Cole and Debora Krizak. Photo: Jeff Busby

When Hunt-Ballard, Debora Krizak as Nickie and Kate Cole as Helene (two of the other girls from the seedy Fandango Ballroom where Charity works) sing There’s Gotta Be Something Better Than This it feels as exuberant as ever but tinged with palpable sadness: three feisty women, perilously close to being over the hill, knowing they will probably never escape this life.

Cole is new to the production and she is a great addition to the cast, bringing a real weight to the role of Helene.

Martin Crewes reprises the roles of Charlie, Vittorio Vidal and Oscar and again creates wonderfully delineated characters. His suave Vittorio is particularly strong and he sings Too Many Tomorrows with a lovely, classic Italianate tenor sound, then slides effortlessly into a nerdy, Jerry Lewis-tinged Oscar. In fact, his performance sits better in the larger space than in the tiny Hayes where it felt a tad outsized.

Verity Hunt-Ballard and Martin Crewes as Oscar. Photo: Jeff Busby

Verity Hunt-Ballard and Martin Crewes as Oscar. Photo: Jeff Busby

Krizak is once again a delight as the hard-boiled Nickie, nailing her fierce one-liners, and also as Ursula, Vittorio’s glamorous, jealous girlfriend.

As at the Hayes, the band – led by musical director Andrew Worboys on keys – sits along the back of the stage but it’s great to see them given more space and visibility. Worboys’ fantastic, funky, electronic orchestrations of the songs are again a winning, driving element of the production.

Bryant integrates the musicians into the production with Kuki Tipoki playing guitar as well as Big Daddy along with several ensemble roles, while Worboys plays Fandango owner Herman.

Original producers Luckiest Productions (Lisa Campbell, David Campbell and Richard Carroll) and Neil Gooding Productions are joined for the tour by Tinderbox Productions (Liza McLean). They should have a huge hit on their hands.

This is one of the most exciting musical theatre productions I’ve seen in a long time: a show given fresh life and raw, gritty currency by a superb creative team and cast. It has made the leap to the larger space in style. Don’t miss it.

Sweet Charity plays at the Sydney Opera House until February 8; The Playhouse, Canberra Theatre Centre, February 11 – 21; Playhouse, Arts Centre Melbourne, February 25 – March 8; Illawarra Performing Arts Centre, Wollongong, March 11 – 15

Sweet Charity

Hayes Theatre Co, February 13

Verity Hunt-Ballard as Charity. Photo: supplied

Verity Hunt-Ballard as Charity. Photo: supplied

Walking into the tiny theatre at Potts Point you are thrust straight into the world of Sweet Charity. A red neon sign reads “Girls, Girls, Girls”, the band is vamping, and the sexily clad ladies at the seedy Fandango Ballroom where Charity works are already on stage, enticing men from the audience to dance with them.

It’s the perfect start to a fabulous production of the 1966 musical (music by Cy Coleman, lyrics by Dorothy Fields, book by Neil Simon), brilliantly re-imagined by director Dean Bryant for the times and the intimate venue.

Produced by Luckiest Productions and Neil Gooding Productions, Sweet Charity is the first production for the new Hayes Theatre Co, which is turning the venue (formerly known as the Darlinghurst Theatre) into a home for small-scale musicals and cabaret.

Sweet Charity tells the story of a dance hall hostess with a heart of gold looking for love in all the wrong places. With its episodic structure, it’s not the greatest musical ever written, merely following Charity as she is dumped by a louse called Charlie, encounters suave Italian movie star Vittorio Vidal, and becomes engaged to neurotic accountant Oscar. But it’s joyous, funny and touching with some great songs including “Big Spender”, “If My Friends Could See Me Now” and “The Rhythm of Life”.

Bryant has given the show a dirtier, grittier edge that makes it feel more current. It’s a small theatre for a musical but Bryant stages it ingeniously on Owen Phillips’s simple, grungy set (a few costume racks and some chairs), making inspired use of a couple of two-way mirrors. Ross Graham’s moody lighting is also impressive.

A small, sharp band, led by musical director Andrew Worboys on keyboards, sits at the back of the stage and there’s a cast of 12 but the production rarely feels squashed.

Occasionally you sense the dance routines longing to break out as in Bob Fosse’s famous, original choreography. However, Andrew Hallsworth has done a fantastic job of choreographing distinctive, tight little movements and routines, while his twist on the Rich Man’s Frug, with surrealistic costumes by Academy Award-winner Tim Chappel, works a treat.

The terrific new musical arrangements by Worboys (who also plays Fandango owner Herman) and Chappel’s witty, sexy costumes (with wigs by Ben Moir) heighten the edgy vibe perfectly.

In her little, red, lacy dress, Verity Hunt-Ballard is gorgeous as Charity, capturing her kookiness, sweetness, sunny optimism and vulnerability. In a production this gritty, Charity might perhaps have been a little more “shop soiled” but it’s a radiant, endearing performance; sensationally sung, danced and acted, with knockout comic timing.

Verity Hunt-Ballard and Martin Crewes as Oscar. Photo: supplied

Verity Hunt-Ballard and Martin Crewes as Oscar. Photo: supplied

Martin Crewes plays Charlie, Vittorio and Oscar and delineates them with wonderfully detailed performances, making us care about the dorky Oscar as well as Charity.

Debora Krizak is also a standout, doubling as Nickie, Charity’s hard-bitten friend at the Fandango Ballroom, and Ursula, Vittorio’s glamorous, jealous girlfriend (here with an English accent). My date for the evening didn’t realise they were the same performer. But the entire ensemble is on song.

Having begun with the stage buzzing, the production ends in poignant fashion with Charity alone on an empty stage: a powerful conclusion to a fresh, thrilling production.

Sweet Charity announces the arrival of an exciting new musical theatre initiative in Sydney in emphatic fashion. It has set the benchmark high. Don’t miss it.

Sweet Charity plays at the Hayes Theatre Co, 19 Greenknowe Avenue, Potts Point until March 9. Bookings: www.hayestheatre.com.au

A slightly edited version of this review ran in the Sunday Telegraph on February 16

 

 

Verity Hunt-Ballard interview

Verity Hunt-Ballard promoting Sweet Charity. Photo suplied

Verity Hunt-Ballard promoting Sweet Charity. Photo suplied

Last time Verity Hunt-Ballard performed in Sydney she flew over the heads of the audience as Mary Poppins in Cameron Mackintosh’s sumptuous, award-winning production.

Now, she is taking on another starring role – as Charity Hope Valentine in Sweet Charity – but this time in a gritty, intimate production.

The show has been chosen to launch the new Hayes Theatre Co, which is turning the former Darlinghurst Theatre in Potts Point into a home for small-scale musicals and cabaret. The exciting initiative looks set to shake up musical theatre in Sydney.

With only 115 seats and audiences sitting up close, “there will be nowhere to hide”, says Hunt-Ballard with a laugh.

“The last role I played was in 2000-seat theatres, which is a different discipline in a way, a different way of storytelling. (Sweet Charity) is really a play with music essentially, not like going to your big budget musicals – which are wonderful obviously, I’m a huge fan of them – but this is different and kind of unique. It’s really exciting to me because I haven’t done a small piece for many years.”

After Mary Poppins ended, Hunt-Ballard – whose other credits include Jersey Boys and The Rocky Horror Show – took a break from musicals to recover from the demanding two-year run.

“It was such a huge journey for me and ticked a lot of boxes, I guess,” says the softly spoken performer, who had only played supporting roles until then. “It was incredible but really hard yakka doing eight shows a week for two years. But it was a huge learning curve and I’m very, very grateful.”

For the past year – apart from appearing in a short return season of Eddie Perfect’s Shane Warne The Musical – she has been focused on raising her baby daughter with partner Scott Johnson who she met when they were performing together in Jersey Boys. However, Sweet Charity was too special an opportunity to resist.

“When (director) Dean Bryant and (producer) Lisa Campbell ring you and say ‘would you like to play Sweet Charity?’ even with an 11-month baby you say ‘yes’,” says Hunt-Ballard.

“We’re opening a theatre honouring Nancye Hayes who’s a really dear friend of mine and who has been my mentor really. She directed me at WAAPA years ago and we’ve been friends ever since. She calls herself my daughter’s fairy godmother. So all the stars aligned and I thought, ‘I’ll just have to take this job’. We’ve just moved to Melbourne but my darling Scott said, ‘OK, we’ll go back.’”

With music by Cy Coleman, lyrics by Dorothy Fields and book by Neil Simon, Sweet Charity opened on Broadway in 1966 in a production directed and choreographed by the legendary Bob Fosse with Gwen Verdon as Charity.

Other actors to have played the title role include Shirley MacLaine in the 1969 film and Nancye Hayes in the original 1967 Australian production.

It tells the story of eternal optimist Charity Hope Valentine, who dreams of being rescued from her job as a hostess in the seedy Fandango Dancehall by love and marriage.

Though she retains an element of innocence about her, Charity is polls removed from the “practically perfect” Mary Poppins.

“I feel, approaching this role, even more equipped having been through the last year emotionally and having to go to really dark places of sleep deprivation,” says Hunt-Ballard. “Not that Charity has children but she is certainly a character that has had to deal with life’s challenges. She’s tough. Full of hope but really tough (and) quite damaged in a way. She suffers rejection so many times but she just keeps going. It’s a story about the human spirit in a way.”

The Hayes Theatre Co production is directed by Dean Bryant whose many musical theatre credits include working as associate director on Priscilla, Queen of the Desert – The Musical around the world, the world premiere of An Officer and a Gentleman and A Funny Thing Happened on the Way to the Forum. He has also directed The Producers, Anything Goes and The Pirates of Penzance for The Production Company in Melbourne.

In 2006, three years after Hunt-Ballard graduated from WAAPA, he directed her in a show he co-wrote with composer Matthew Frank called Virgins, which went to the New York Musical Theatre Festival. Longtime friends, Hunt-Ballard is excited to be working with him again.

“Dean’s vision is quite gritty, quite dark and very influenced by Nights of Cabiria, the Fellini film that Sweet Charity was based on, which focuses more on the fact that Charity is a prostitute. She’s not just a dance hall hostess. She really has no skills, no support and she has to do this to survive,” says Hunt-Ballard.

“Our assistant director Valentina Gasbarrino is Italian and she was talking about the Fellini film and what it meant to Rome at that time: the oppression of the working class that he was showing. Dean is really excited that we are performing in the Cross because we really want it to feel like you are stepping into what could be any club (in the area).”

Hunt-Ballard says that the production will be “very physical” with “hip” new musical arrangements by Andrew Worboys and “hot” costumes by Academy Award-winning designer Tim Chappel.

Audiences will watch the show as if they are in the Fandango Ballroom with the characters.

“It’s quite stark,” says Hunt-Ballard. “We will be using minimal props and costume changes will happen on stage. It will take audiences on an emotional trip hopefully – sometimes uncomfortable, sometimes funny and sometimes beautiful.”

Sweet Charity, Hayes Theatre Co, Potts Point until March 9. Bookings: hayestheatre.com.au or 0498 960 586

An edited version of this story appeared in the Sunday Telegraph on February 2