THE PIRATES OF PENZANCE - Canberra Theatre Centre in association with Hayes Theatre

Brittanie Shipway - Jay Laga'aia -Billie Palin - Trevor Jones - Maxwell Simon in The Hayes Theatre production of "The Pirates of Penzance".

Director: Richard Carroll – Asst.Director & Choreographer: Shannon Burns

 Co-Arranger & Musical Supervisor: Victoria Falconer

 Musical Director & Co-Arranger: Trevor Jones

 Set Designer: Nick Fry – Costumer Designer: Lily Mateljan

 Lighting Designer: Jasmin Rizk – Sound Designer: Daniel Herten

 Production Manager: Abbey Pace – Stage Manager: Sheryden Simson

 Canberra Theatre Centre Playhouse – 3rd – 6th May 2025

 Opening night performance on May 3^rd reviewed by BILL STEPHENS

 

Hayes Theatre has earned an enviable reputation for its clever reductions of classic Broadway musicals. Canberra audiences have been treated to several of these productions, notably “Sweet Charity” and “Calamity Jane”.

This time intrepid show doctor, Richard Carroll, with the enthusiastic input of his musical collaborator, Victoria Falconer, has turned his attention to Gilbert & Sullivan and taken his trusty scalpel to one of their most popular creations, “The Pirates of Penzance”, and repurposed it as a wickedly silly laugh fest.  

Whether or not Gilbert or Sullivan would have approved, it was obvious from the response of the many of the G. & S. enthusiasts in the first night audience that they were delighted with the ingenuity of the production, with the result that every ticket for the whole Canberra season is already sold out.

Carroll, Falconer and their team of creatives set themselves an extra degree of difficulty by deciding that all the characters in this version of Pirates would be played by just five virtuoso actors.

To this end, set designer Nick Fry has devised a versatile setting approximating a run-down Victorian theatre, but packed with ingenious visual surprises. Witty costumes by Lily Mateljan compliment the era while allowing lightning-fast changes, aided by ingenious lighting and sound by Jasmine Rizk and Daniel Herten, all monitored by the on-stage stage manager, Sherydan Simson.

There’s even room on stage for those audience members who paid extra for the privilege only to find themselves unwittingly engaged in the action.

Brittanie Shipway as Ruth and Jay Laga'aia as the Pirate King in "The Pirates of Penzance

Virtuoso performances are demanded of the cast who portray one, two or more roles as well as play musical instruments.

Brittanie Shipway delights playing both the female leads. As Mabel, the young but certainly not naïve heroine, she effortlessly negotiates the stratospheric coloratura of Poor Wondering One.

Then, with hardly a bat of an eye, she becomes the more mature and manipulative Ruth, intent on inveigling into marriage, the handsome, noble, and possibly stupid, 21year-old, Frederick, played with sly conviction and excellent voice, by Maxwell Simon.

 

Maxwell Simon & Brittanie Shipway as Frederik and Mabel in "The Pirates of Penzance"

    

For his part, Jay Laga’aia revels in his swashbuckling glory as The Pirate King, embraces his feminine side to portray, with surprising conviction, one of Mabel’s eclectic group of sisters, and joins Billie Palin in attempting to portray a troupe of singing police recruits battling with some tricky baton choreography devised by Shannon Burns.

Trevor Jones as The Major General in "The Pirates of Penzance"

But it is the avuncular musical director, Trevor Jones, who steals the show being whisked around the stage at his piano impersonating a whole orchestra, singing with sisterly sweetness as one of Mabel’s sisters, but particularly with his show-stopping turn as the Major-General tossing off hilarious tongue-twisting lyrics with casual finesse.

It’s all delightfully silly, but remarkably, in all the threatening chaos, W.S.Gilbert’s story gets told, even though the story-telling gets a bit bumpy towards the end with the necessity to wind up all the outrageous shenanigans, and Arthur Sullivan’s music is respected, particularly in the beautifully sung second act opening, for which the cast enter the theatre through the auditorium.

Billie Palin - Trevor Jones - Jay Laga'aia - Brittanie Shipway as Mabel and her sisters in
The Pirates of Penzance"

                                                          Pictures by John McRae

   This review first published in the digital edition of CITY NEWS on 04.04.25 

 

 

ANNA BISHOP: OPERA'S BAD GIRL, THE WORLD'S FIRST DARINGLY DEFIANT DIVA

 

Written by Sarahlouise Owens

Sarahlouise Owens, soprano

Lucus Allerton, piano

Directed by Tony Turner

A Cantaviva presentation

Canberra REP Theatre to 5 April 2025

 

Reviewed by Len Power 4 April 2025

 

Opera diva, Anna Bishop, born in London in 1810, performed in many countries, including Australia, survived a shipwreck, various husbands and scandals. She made and lost fortunes and was considered one of the finest operatic sopranos of her day.

Recreating a recital in the style of the times, soprano Sarahlouise Owens’ takes us on a musical journey through the fascinating life and career of this 19^th century opera diva.

Surrounded by various items from her career and travels, Anna Bishop appears with her accompanist at the piano in a time warp to entertain us, not only singing arias and songs she made famous in her day but also relating stories from her long and colourful career.

Owens presents a rich program of songs associated with Bishop. Opening with Handel’s “Let the Bright Seraphim”, she sings other well-known arias by Balfe, Rossini and Donizetti, but also includes songs by her second husband, Nicolas-Charles Bochsa, and others. “Home Sweet Home” by her first husband, Henry Bishop, and the song she sang at her final concert in 1883 when she was 73 years old, is used to touching effect at the end of the show.

As well as being in fine voice with the many songs, Owens gives a portrait of considerable depth of a strong woman who lived life on her terms, despite the difficulties of doing so in those times.

Her accompanist is played by Lucus Allerton, who is not only a superb pianist, but also gives a sharp character sketch of a stiffly formal young performer of the time. There is a hilarious moment in the show where his over-enthusiastic accompanying is quickly squashed by the demanding diva.

As Bishop toured Australia twice, it would have been interesting to hear of more incidents from those tours, if possible. Otherwise, the level of detail in the show about her life and travels is constantly interesting and the music is delightful.

Director, Tony Turner, has ensured that the show moves at the right pace with a good balance between songs and dialogue.

Anna Bishop may be a diva of the past, but this show brings her to life, giving her the opportunity to entertain once more.

 

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs and published in his blog 'Just Power Writing' at https://justpowerwriting.blogspot.com/

 

 

 

The Pirates of Penzance - Hayes Theatre Co

 

 

 

 The Pirates of Penzance by Gilbert & Sullivan, “re-wired and re-booted” by Hayes Theatre Company (Sydney) at Canberra Theatre Centre, The Playhouse, April 2-6 2025.

Reviewed by Frank McKone
April 3

    
Cast & Creatives

Starring
Trevor Jones as The Major-General and more
Jay Laga’aia as The Pirate King and more
Brittanie Shipway as Ruth, Mabel and more
Maxwell Simon as Frederic and more
Billie Palin as Isabel, Barry and more/onstage swing

Director Richard Carroll
Co-Arranger & Musical Supervisor Victoria Falconer
Musical Director and Co-Arranger Trevor Jones
Assistant Director & Choreographer Shannon Burns
Set Designer Nick Fry
Costume Designer Lily Mateljan
Lighting Designer Jasmine Rizk
Sound Designer Daniel Herten
Production Manager Abbey Pace
Stage Manager Sherydan Simson

Hayes Theatre has brought the most rambunctious, humorous, outrageous production of The Pirates of Penzance from exciting Sydney to cautious Canberra – to a standing laughing cheering ovation.

Don’t miss it if you dare, or you’ll have nothing to talk about in your 3 days in the office.

The point is, of course, that The P of P is a political satire, and the Hayes’ rewiring makes not too subtle but plenty of LOL connections with the pirates of today, while telling the complex story of the moral dilemmas of the orphan Frederic learning proper behaviour.  It could all be happening in Parliament House where Frederic, after battles and promises to marry, finally realises he is really a teal independent simply asking for conflicts of interest to be dealt with through reasonable diplomatic discussion.

Jay Laga'aia (centre) with, from left, Trevor Jones, Maxwell Simon, Billie Palin and Brittany Shipway

Google AI tells me: The Pirates of Penzance was written by the famous duo, with the libretto by W.S. Gilbert and music by Arthur Sullivan in 1879. It premiered with a single performance in Paignton, England, on 30th December 1879 and had its official debut in New York the next day, where it was an instant hit.

Penzance is a pretty bay very near the end of Cornwall in UK, a nice little harbour town remote enough for real pirates, while Paignton is easterly, just along the south coast where I used to holiday as a child and learned nice manners, just like Frederic.  G&S for me was quite gentle social satire, rather like a good David Williamson in Australia today.

But their secondary title, The Slave of Duty, had and still has much more significance.  Wikipedia tells us: The Third Socialist Workers' Congress of France was held in Marseille, France, in 1879. At this congress the socialist leaders rejected both cooperation and anarchism, both of which would allow the existing regime to continue, and adopted a program based on collectivism. The congress also adopted a motion that women should have equal rights to men, but several delegates felt that essentially woman's place was in the home…. The congress has been called a triumph of Guesdism and the birthplace of French Marxist socialism.
[  https://en.wikipedia.org/wiki/Socialist_Workers%27_Congress_(1879)  ]

And there are all the clues in The Pirates of Penzance.  Frederic becomes a socialist, just as did my parents and therefore I did in the following half century.  

This is where, in the Hayes’ Re-wiring, we stop laughing.  They give an extra solo to Frederic to end the operetta, about his new understanding: we must not allow ourselves to be slaves to duty when the powers that be command you to kill.  

Though G&S could not be so direct in their day, this is what they imply in making fun of the assumption that pirates are all lower class who must kill the upper class to keep their thieving business profitable; and that Major-Generals and Police should therefore imprison and kill all pirates.

Frederic, the orphan pirate, and Mabel, the upper class sophisticated daughter of the Major-General, love each other – a symbol of peace without violence.

Laugh out loud along with Misters Gilbert and Sullivan, and enjoy Hayes Theatre’s genuinely funny – and powerfully performed – theatre.  But take seriously the finale:

Poor wandering ones!
Though ye have surely strayed,
Take heart of grace,
Your steps retrace,
Poor wandering ones!
Poor wandering ones!
If such poor love as ours
Can help you find
True peace of mind,
Why, take it, it is yours!

Maxwell Simon as Frederic and Brittanie Shipway as Mabel
in The Pirates of Penzance
Hayes Theatre 2025

THE PIRATES OF PENZANCE OR THE SLAVE TO DUTY

 

The Pirates of Penzance or The Slave of Duty.  

Libretto by W.S. Gilbert. Music by Arthur Sullivan. Directed and adapted by Richard Carroll. Co-Arranger & Musical Supervisor Victoria Falconer. Musical Director and Co-Arranger Trevor Jones. Assistant Director & Choreographer Shannon Burns. Set Designer Nick Fry.  CostumeDesigner Lily Mateljan..Lighting Designer Jasmine Rizk. Sound Designer Daniel Herten. Cast:Jay Laga’aia,Trevor Jones, Maxwell Simon, Brittanie Shipway, Billie Palin. Hayes Theatre Company in association with Canberra Theatre Centre.The Playhouse.  April 2-6 2025. Bookings: canberratheatrecentre.com.au

 

Reviewed by Peter Wilkins

 

Trevor Jones (Pirate), Maxwell Simon (Frederic), Jay Laga'aia (Pirate King)
Billie Palin (Pirate), Brittanie Shipway (Ruth) in The Pirates of Penzance

If you have a ticket to the Hayes Theatre Company production of The Pirates of Penzance or The Slave of Duty at the Canberra Playhouse then you have struck gold! If you haven’t start digging now because this is one wow of a show you won’t want to miss. It’s hard watching this brilliant ensemble of five performers and their on stage techie to believe that it is over a hundred years since entrepreneur extraordinaire D’Oyly Carte staged Gilbert and Sullivan’s riotously satirical musical about class, gender and duty for an unsuspecting Victorian audience. Gand S were to comic opera what Wilde was to theatre and their enduring popularity is proof of their relevance to a modern-day Canberra audience.

Mabel (Brittanie Shipway) with her sisters

Sea shanties lure the audience into the theatre with some seated inside designer Nick Fry’s  colourful seaside bar. The cast in pirate costuming complete with fake beards and moustaches reminded me of the plethora of amateur Gilbert and Sullivan operas that were churned out during the 1950s. But there is nothing amateur about this production. 

It rides the high seas of professional excellence–a swashbuckling oceanic tidal wave of irreverent fun and frivolity, performed with piratical elan by an amazing ensemble of five versatile performers who throw themselves heartily into the tale of Frederic (Maxwell Simon), the young slave to duty on the cusp of adulthood who decides to leave the pirate crew and pursue a life of respectability and conformity.

Frederic (Maxwell Simon), Ruth (Brittanie Shipway)

What follows is a bountiful swell of mayhem and madcap comedy as Frederic searches for love, meets the Major General (Trevor Jones), father of the sweet Mabel (Brittanie Shipway) and eventually is tricked into returning to the Pirate gang. But like all good endings with a sentimental moral Frederic’s sense of duty makes him a paragon of virtuous humanity.

In reducing the cast to five, director Richard Carroll has turned the G and S classic into a rumbustious romp of high-powered energy. And what a cast! All switch roles with breathtaking alacrity from pirates to fair maidens to London Bobbies. As the Pirate King with a soft spot for orphans Jay Laga’aia cuts an imposing and charismatic figure with a commanding presence and a fine baritone voice. He and Billie Palin also show their versatility as London bobbies with A Policeman’s Lot is not a Happy One. Brittanie Shipway doubles as the pirates’ cook Ruth and the sweet love interest Mabel. It is an extraordinary performance, maximizing Shipway’s command of jazz vocals and operatic vibrato. 

Trevor Jones as the Major General

Arrangements by Victoria Falconer and Trevor Jones imbue the songs with a contemporary feel while retaining the intricate melodies of Arthur Sullivan’s original composition. Shipway’s delivery of When Frederic was a little Boy sung into a standing microphone captured a hint of Weill’s Pirate Jenny. As Mabel, Shipway’s rendition of Poor Wand’ring One harkens back  to the sweet innocence of the Music Hall ingénue. Musical director and arranger Trevor Jones also plays the Major General and other minor roles. His rendition of the Major General’s class patter song I am the very model of a modern Major General  brought the house down with his perfect patter and updated lyrics , giving a nod to Albanese, Tom Cruise and Scientology and Alec Baldwin. In keeping with tradition the contemporary references strike a familiar chord while retaining the satirical intent of G and S. What is amazing is Jones’s perfect timing and rhythmic control as he accompanies himself on the piano while beefing out the Major General’s number.

The Major General's four daughters

Director Carroll has fashioned a magical G and S package with a punch. It’s pacy, ricochet rapid ensemble theatre at its very best, performed by a cast that is having a ton of fun. It’s contagious, a foot-tapping revelry that loses none of its original cutlass-clanging swipe at Victorian propriety. It is as fresh today in this imaginative Hayes Theatre Company production as it must have been at its first production almost one hundred and fifty years ago. This is a new look show for today’s G and S aficionados and totally loyal to its origins. It is a rare occasion to see the Playhouse packed to the rafters with an audience laughing uproariously. In an uncertain and troubled world this sparkling production of The Pirates of Penzance – The Slave to Duty is proof galore that laughter is the best medicine.

 

THE PIRATES OF PENZANCE

Music by Arthur Sullivan

Lyrics by W.S. Gilbert

Directed by Richard Carroll

Co-Arranger and Musical Supervisor: Victoria Falconer

Musical Director and Co-Arranger: Trevor Jones

Hayes Theatre Co. production

The Playhouse, Canberra Theatre Centre to 6 April

 

Reviewed by Len Power 3 April 2025

 

When a show is over 140 years old, especially an operetta, you’d think it might not have much appeal any more for a modern audience, but “The Pirates Of Penzance or, The Slave To Duty” remains perennially popular.

It was the fifth collaboration of the English team of Gilbert and Sullivan. Surprisingly, it opened in New York in 1879, a year before it opened in London. It has remained popular ever since and, now that it’s out of copyright, it’s fair game for revision and non-traditional presentations.

Hayes Theatre Co. of Sydney have come up with a winner of a show with their current touring production. Gone are the expected large choruses and huge orchestra - this production has a cast of five and a piano or two. That it works so well is a triumph for this production’s creators.

Jay Laga'aia (centre) with, from left, Trevor Jones, Maxwell Simon, Billie Palin and Brittany Shipway

Jay Laga’aia is an excellent Pirate King, singing and swashbuckling his way through the show. He turns up unexpectedly and delightfully as other characters, too.

Brittany Shipway plays both Ruth and Mabel, giving a distinctive performance for each character. This fine comedienne sings very well, also popping up as other characters.

Maxwell Simon and Brittany Shipway

Maxwell Simon gives the role of the young Frederic a classic innocence that is very appealing. Also in fine voice, he makes the most of his songs. Billie Palin busily and cleverly plays the characters of Isabel and Barry as well as several others.

Trevor Jones is the pianist, Fishcake, and steals the show with his performance of the Major-General. Singing his tongue-twister of a song and accompanying himself on piano is a hilarious highlight of the show. Make sure you listen carefully to the lyrics!

Trevor Jones

The quality of the singing from this small cast is very high. Particularly memorable was the power and clarity of their harmony singing. Everything about this production works – the sets, costumes, lighting and sound – making this an evening of rollicking good fun.

From left: Billie Palin, Trevor Jones, Jay Laga'aia and Brittany Shipway

There is seating onstage for a number of fearless audience members. One of these, Peter McDonald, well-known Canberra musician, suddenly found himself briefly centre-stage as part of the action. He gave a performance that will be long remembered!

 

Photos by supplied by the production

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs and published in his blog 'Just Power Writing' at https://justpowerwriting.blogspot.com/.

 

ADELAIDE CABARET FESTIVAL 2025

 

Adelaide Cabaret Festival 2025. 

Artistic director Virginia Gay. Executive Producer Alex Sinclair. Adelaide Festival Centre. June 5-21 2025 Bookings: adelaidecabaretfestival.com.au

Previewed by Peter Wilkins

 

Virginia Gay  Artistic Director
Photo Cludio Raschella

Australia’s premier cabaret festival kicks off to a glittering start with a Variety Gala on June 5^th in Adelaide’s prestigious Festival Theatre. It is difficult to believe that the first Adelaide Cabaret Festival opened twenty five years ago, the brainchild of the late Frank Ford and under the artistic direction of the inaugural director Julia Holt. Since then the Cabaret Festival has grown into the largest international cabaret festival in the world. As well as attracting phenomenal talent from around the country many of the world’s greatest cabaret artists have appeared at this jewel in the Adelaide Festival Centre’s festival crown. From around the world people flock to Australia’s festival state to soak up the atmosphere in intimate, cosy and thrilling cabaret venues.

David Campbell

After hosting her first successful festival in 2024, the inimitable and incandescent Virginia Gay returns to present a programme worthy of this milestone occasion. ”For me it’s a huge honour to have the guardianship of the festival when it is celebrating such an extraordinary anniversary.” Gay tells me. ”What I want to do is to honour our legacy act, the act that has made us. The act that has changed us.”

After 25 years, Gay is in no doubt about what cabaret is and her voice sparkles with excitement. “Cabaret is mischief, wit, sass, celebration of community and just a little whiff of chaos” she says with a twinkle in her voice. “That to me is everything that cabaret is and does. What is exciting about my cabaret festival,” Gay says, “is that it has a place in the global firmament of arts festivals. International stars are excited to come here and work with us. It is so thrilling and is a testament to the Artistic Directors who have come before me.”  The list is a roll call of Australia’s brightest cabaret talent including David and Lisa Campbell, Kate Ceberano, Ali MacGregor and Eddie Perfect, Barrie Humphries, Julia Zemiro and to give it that touch of international pizzazz Alan Cumming. The roll call of artists is too long to mention but over the past twenty years they have defined the nature of cabaret, stamped it with their phenomenal talent and turned Adelaide into the epicentre of everything that makes cabaret the thrill that it is.

Carlotta Photo Claudio Raschella

As a salute to the origins of the Adelaide Cabaret Festival, Gay has invited the one and only Carlotta to open the 2025 festival. Carlotta opened the very first festival and now, a quarter of a century later and at the unstoppable age of 81, Carlotta will return to introduce artists and audience alike to the 25^th anniversary festival.. The past, the present and the future will be the cornerstones to Gay’s selection of artists. Performers like Bernadette Robinson, piano man Trevor Jones , Reuben Kaye and David Campbell will be familiar favourites from previous festivals.

 

Jessica Mauboy Photo Peter Brew Bevan

Newcomers like Jacob Collier and Demi Adejuyigbe and The Burton Brothers will bring their international acts that are changing the present and the young aspiring cabaret artists of Class of Cabaret will launch the art form into the future. Gay reminds me that “cabaret is irreverent, it is sexy, it is fearless. It is not afraid to speak uncomfortable truths and hold power to account.” That is why artists like Rizo and Reuben Kaye play an integral role in the cabaret festival. “There is no separation between audience and performer in this show. At any second Reuben Kaye is going to have his head in your lap. And that is cabaret my friend!”

The twenty-fifth anniversary cabaret will be a showcase of familiar faces, new talents and future stars of the cabaret stage. Best newcomer at this year’s Edinburgh Fringe, American writer, comedian, filmmaker and performer Demi Adejuyigbe promises the most perfect, hilarious and insane show at the festival. Time Out called Demi Adejuyigbe is Going to Do One (1) Backflip both ramshackle and slick, the future of Musical Comedy. Audiences are asked to expect the unexpected.  Adejuyigbe has the kind of charisma that could power a city. While playing Cyrano in Cyrano de Bergerac in Edinburgh during her UK tour, Gay could not get a ticket to Demi’s sold out show. She had to wait until the London performances to get to see this new cabaret sensation.

The Burton Brothers Photo Simon McCulloch

Also new to the festival is six times Grammy award winning multi-instrumentalist and composer Jacob Collier. In an Australian exclusive Collier will wow audiences with improvisation, genre bending songs and audience participation. It promises to be a two night stand only to remember. For a deliciously absurdist dose of comedy, audiences won’t want to miss The Burton Brothers – 1925. Real life brothers , the Burton Brothers will present an hilarious sketch comedy show set entirely in the year 1925. The Great War is over, the Jazz Age is in full swing and their two part harmony jazz classics herald in a new age of optimism. “It’s very, very funny.” Gay says. Award winning singer, comedian and screenwriter Frankie McNair brings her alter ego, ageing lounge singer Tabitha to the 2025 Adelaide Cabaret Festival. Described by Gay as a Melbourne superstar, she also claims that there is no one more fearless than McNair “ an alternative comedy wunderkind”.

An anniversary as significant as this year’s cabaret festival has an obligation to salute the past, applaud the present and imagine the future. ”What is truly exciting and such an honour when you have this position,” Gay says,”is to look towards the future and say what cabaret could be.” More than ten years ago, David and Lisa Campbell introduced the Class of Cabaret to the Adelaide Cabaret Festival. Twenty young people are selected to write their own material and work with industry mentors and leadership to devise a show of 65 minutes.

Class of Cabaret 2024

This year their efforts will count towards their HSC results, but that is unlikely to affect their bravery and daring to forge a new future in cabaret. “It is the show most guaranteed to make me cry.” Gay tells me. ”Tears of pride are so strong. I can see them putting their heart on the line and speaking honestly with authenticity. We really need storytellers like that. We go into the future to empower the next generation of storytellers. We say to them your voice is important. You can change the world!” Gay says to these 16 and 17 year old cabaret artists of the future “You are going to change the world and make it funny and fabulous and deeply, deeply attractive. That’s cabaret.”  It is a bold message of hope and optimism for the next generation.

The interview is coming to an end but I have time for one final question. “What can audiences expect from the 25^th anniversary festival?” Gay is quick to answer. “People can expect a rollicking good time, authenticity and immediacy and mischief and they can probably make a couple of new friends over a couple of glasses of very nice champagne. And that my friend is cabaret!”

 

 

 

The Curious Incident of the Dog in the Night-Time

Wajanoah Donohue and ensemble in Curious Incident of the Dog in the Night-Time. Photo: Chris Baldock

The Curious Incident of the Dog in the Night-Time. Based on the novel by Mark Haddon; adapted for the stage by Simon Stephens. Mockingbird Theatre Company, Canberra, at Belconnen Arts Centre, March 20 – April 5 2025. 

Reviewed by Frank McKone April 1 

 CAST: Christopher (at certain performances) – Wajanoah Donohoe Christopher (at certain performances) – Ethan Wiggin Siobhan – Leah Peel Griffiths; Ed – Richard Manning; Judy – Claire White Ensemble – Travis Beardsley, Callum Doherty, Peter Fock, Meg Hyam, Anthony Mayne, Tracy Noble with a special appearance from Phineas Baldock 

PRODUCTION TEAM: Director/Designer – Chris Baldock; Assistant Director – Stephanie Evans Stage Manager – Rhiley Winnett Lighting Design – Rhiley Winnett and Chris Baldock Projections Design – Matt Kizer; Projection Realisation & Operation – Rhiley Winnett Music Composer – Matt Friedman; Costumes and Props – Chis Baldock and cast Autism Lived Experience Consultants – Jacob Alfonso and Jennyfer Lawrence Taylor Rehearsal Prompt – Liz St Clair Long 

The calculation of the square of the hyptenuse of a right angled triangle is the image which informs this thoughtful presentation of The Curious Incident of The Dog in the Night-Time. 

 Though the drama of the life of Christopher John Francis Boone, accurately characterised by Wajanoah Donohoe, is not exactly exciting in a conventional theatrical way – since the central character has no empathetic capacity – we find ourselves watching the story play out at some ‘distance’ emotionally. Rather like Christopher himself, we seem to be objectively observing a documentary about adults as parents and neighbours, including their rearrangements of sexual relations, and how difficult life therefore is for a seriously autistic child, at the stage of achieving the highest score possible in Mathematics on his way from high school to university. Intellectual determination to complete his knowledge of mysteries, from who killed the dog in next door’s garden to the explanation of Pythagoras’ theorem is the central feature of Christopher’s life. 

So, physically, Baldock and the Design Team have us sitting in straight rows on three sides of a square, watching highly stylised acting-out of the story, in terms of choreography and costume design, surrounded by large rectangular projections of words, and even mathematics, and images of practical things like trains which illustrate the action in a Christopher-like way. 

And then we discover the final ruse. We are watching in real time Siobhan and Christopher creating a play for us to understand what happened in the past, especially including how difficult Christopher’s built-in need to only always speak the truth had been for his parents, and the reasonable resolution of their lives which was achieved. So the play within a play parallels what the theatre company is doing – artfully creating the words of a novel in living form. 

This extra level is emphasised in Baldock’s production by the abstract white costuming for the Ensemble, rather than having the characters dressed in normal street clothes. This play is not presented as ‘naturalism’, but in a form designed to illustrate the issue of how being autistic, despite one’s intelligence, is fraught with difficult situations and often unfair treatment – even when other people understand that you can’t not behave in the frustrating, for them, way you do. 

 Rather than presenting this now famous play with the razzamatazz of the Grand Tour by the National Theatre of Great Britain which I reviewed (on this blog) June 2018, Baldock brings the play down to size, and in doing so leaves me with a more simple focus on the issue as it is for so many people ‘on the spectrum’. 

And Wajanoah’s explanation of the proof of the Pythagoras theorem – after the curtain call, as if he was Christopher but somehow out of role – was terrific. Thank you, Mockingbird.

SONGS OF ELTON AND GEORGE - Canberra Theatre

 

Tim Campbell & Anthony Gallea

Devised and performed by Anthony Callea and Tim Campbell

Lighting by Cam McKaige – Sound by Paul Bailey

Backing vocalists: Susie Ahern, Rocky Leprevite

Musicians: Sax: Tim Wilson – Drums: Carlo Parisi – Keys: Robbie Amato

Bass: Kim May – Guita:  Cory Jach.

Canberra Theatre: March 29. 2025 – Reviewed by BILL STEPHENS

Susie Ahern - Anthony Callea - Tim Campbell - John Foreman performing
"Songs of Elton and John" in Hamer Hall, Melbourne - Photo: Sam Tabone.

An enthusiastic Canberra audience sustained their extraordinary record of sold-out performances by Anthony Callea and Tim Campbell with their show “The Songs of Elton and George”.

After playing three sold out performance in the Hamer Hall in Melbourne and two in the Sydney Opera House in 2024, with John Foreman and the Australian Pops Orchestra, Callea and his husband, Tim Campbell decided to embark on a 32-date tour of major venues across Australia running from February to June this year; most of which are already sold out even though touring with a much smaller band than for their Hamer Hall and Sydney Opera house concerts..

Callea and Campbell are no strangers to sold out shows having already performed 27 of them across the country in 2023 with their “Up Close and Unpredictable” tour.

So, what’s the secret of their success? 

Anthea Callea performing "Songs of Elton and George" in the Sydney Opera House
 Photo - David Hooley 

Well to begin with, both are power-house singers. Callea is an Aria Award winning artist, who first came to fame as the runner-up in the 2004 edition of Australian Idol. His debut single, The Carol Bayer Sager/David Foster/Tony Renis/Alberto Testa song The Prayer became the second highest selling Australian single of the 2000’s. 

Over the last twenty years Callea has honed his skills to forge a multi-award winning career performing in concerts, musicals and special events for the likes of Queen Elizabeth 11 and Luciano Pavarotti. Artists with whom he has toured include Celine Dion, Whitney Houston and Diana Ross.

Tim Campbell’s career is no less illustrious, ranging from starring roles in television series including Home & Away and House Husbands, hosting national prime time shows, among them Celebrity Singing Bee and Wheel of Fortune and starring in major stage musicals, Wicked, Rent and Shout!

These national tours allow them to combine their complimentary talents with excellent production values and disciplined direction to present crowd-pleasing performances which showcase their impressive individual performance skills.

Anthony Callea & Tim Campbell performing "Songs of Elton & George" in the Sydney Opera House
Photo: David Hooley

Callea and Campbell also have another ace up their sleeve in that their seventeen-year relationship has mellowed into an easy-going onstage partnership that allows both to make each other the butt of their good-natured humour.

In the case of Callea, this comes as something of a surprise, as he gets little opportunity to reveal this side of his personality on his television guest appearances which tend to focus on his artistry as a vocalist.

In trawling through the repertoire of Elton John and George Michael, which is the focus of “The Songs of Elton and George,” both artists have mined a fertile selection of excellent contemporary songs to create this entertaining evening of song.

Neither attempt to imitate the artists they have chosen to celebrate, but instead, put their own stamp on each song, with the support of excellent musical arrangements from their superb five-piece band and backing singers, Susie Ahern and Rocky Leprevite.

Attention to striking costuming and lighting design also set their show apart from many on the touring circuit, exemplified by Callea’s first entrance in a blaze of Swarovski diamantes to sing George Michael’s Father Figure, followed by Campbell, only slightly less extravagantly costumed, to sing Elton’s John’s  Yellow Brick Road, then joining Callea in a duet for George Michael’s Jesus to a Child, with Callea finishing the set with  stunning versions of George Michael’s  I Can’t Make You Love Me and Kissing A Fool.

The concert continued in in this vein, with the audience reacting vociferously as song after favourite song featured, with the choices of costuming becoming the basis of much of the humour; Campbell preferring more conservative choices to Callea.

Both backing singers got a moment in the spotlight with Rocky Leprevite joining Campbell for a medley of Elton John favourites, Tiny Dancer, Rocket Man and Daniel, and Susie Ahern joining him for George Michael’s, I knew You Were Waiting.

Anthony Callea & Tim Campbell performing "Songs of Elton and George" with the Australian Pops Orchestra in the Sydney Opera House in 2024. Photo: David Hooley.

Guitarist Cory Jack joined Callea for a stripped back version of Elton John’s Candle in the Wind which should have been a highlight but unfortunately suffered from the over-amplification of the guitar, a problem which seemed to creep in during the latter section of the concert when the band tended to drown out the singers.

However, Callea and Campbell have devised a winning formula, which will serve them well while-ever they maintain their production standard, with the songs of carefully selected artists providing them with endless repertoire on which to exercise their individual talents for imaginative re-invention.

Meanwhile, this is a concert you should not miss when it comes your way. That is, if you’re lucky enough to find a ticket.

    This review also featured in AUSTRALIAN ARTS REVIEW. www.artsreview.com.au

The Glass Menagerie - Ensemble Theatre

 

The Glass Menagerie by Tennessee Williams.  Ensemble Theatre, Sydney, March 21 – April 26, 2025.
Presented by special arrangement with The University of the South, Sewanee, Tennessee.

Reviewed by Frank McKone
March 29

Cast & Creatives

    Tennessee Williams. Playwright. ...
    Liesel Badorrek. Director. ...
    Danny Ball. Cast - Tom Wingfield. ...
    Blazey Best. Cast - Amanda Wingfield. ...
    Bridie McKim. Cast - Laura Wingfield. ...
    Tom Rodgers. Cast - Jim O'Connor. ...
    Grace Deacon. Set & Costume Designer. ...
    Verity Hampson. Lighting Designer.
Photos by Prudence Upton

Blazey Best, Bridie McKim, Danny Ball
as Amanda Wingfield, daughter Laura, son Tom
The Glass Menagerie, Ensemble Theatre 2025
Photo: Prudence Upton

Do your very best to get to Sydney’s Ensemble Theatre, on the Harbour at Kirribilli, no matter what the weather, for their production of Tennessee Williams’ The Glass Menagerie.  You have till April 26th.  It’s a classic.

How ironic is my shock as actor Tom Rodgers, as the smartly brylcreemed “gentleman caller” Jim, clumsily trying to dance with crippled terribly shy Laura, knocks over and smashes her beautiful but fragile glass model rearing horse (or rather, unicorn).  The whole audience gasped as one; and were horrified again as her brother Tom (Danny Ball in a consistently steady performance) threw another handful of precious glass, smashing it into the image of the face of his father; and like me were in tears for Bridie McKim’s delicately played Laura, left alone in her crippled world.

Bridie McKim and Blazey Best
The Glass Menagerie, Ensemble Theatre, 2025

 

Bridie McKim as Laura and Tom Rodgers as Jim O'Connor
in The Glass Menagerie, Ensemble Theatre 2025

Why is the power of this wonderful Ensemble Theatre production, so ironic?  On the very day as I watched The Glass Menagerie, in The Saturday Paper, Rick Morton was quoting from “the questionnaire sent by US officials to Australian researchers and institutions, seeking to determine whether their work complied with Donald Trump’s promise to cut funding from projects that support a ‘woke’ agenda.”

“Can you confirm that this is no DEI [diversity, equity and inclusion] project, or DEI elements of the project?”

How even more ironic is it that Tennessee Williams’ character, gentleman caller Jim, is described by brother Tom when they were at high school, as so popular that within five years he could have become the President of America!  And now, at 22, like Tom, he works in an Amazon-like warehouse, and is soon to marry Betty.

So sorry, Laura.  

As I write, the Australian Broadcasting Commission is reporting on the problem of “boys’ culture” made so much worse by social media today. Has nothing changed since 1944?  Then, Tennessee Williams sent the boys like Laura’s father in the Depression and now her brother in wartime off to seek “adventure”, leaving their women frantic – like her mother, Amanda Wingfield, played to perfection by Blazey Best.  

So the final irony as I see it is that theatre, as produced by Ensemble Theatre, shows us the heights of human empathy in the teamwork of wonderful actors, and of human intelligence and understanding in the work of director Liesel Badorrek and her team of designers, set makers and stage managers, in presenting a great American tragedy of failing human relationships, just as true in this century as a century ago.

Theatre may be an illusion, but this work reveals the truth of how our real world is still no more than a collection of beautiful but yet so fragile possibilities, so easily accidentally knocked over – or so deliberately smashed by Presidents seeking adventure.  

Tennessee Williams saw World War 2 as the result of economic depression – a way of escape for the boys (though, in another irony not covered in his play, often a way into work for women, at least while the fighting continued).  It’s not unreasonable to expect that tragedy may be repeated in World War 3.  The Glass Menagerie is not just, as Ensemble Theatre says, “Williams’ timeless portrait of a shattered family” but an image of a shattered humanity.

Unfortunately President Donald Trump’s approach to theatre on The Apprentice surely means he sees Tennessee Williams as ‘woke’; and his performance in the White House attempting to intimidate President Volodymyr Zelenskyy – who actually ironically has been a seriously successful professional satirical comedian – showed Trump to be the worst kind of ham actor, dangerous because he has no self awareness.

So we ordinary people are left like Laura to a seemingly unfulfilling future.  But the strength of Ensemble’s production of The Glass Menagerie can be measured by the depth of the silence achieved by Danny Ball and Bridie McKim in the moment which ends the play.  Theatre of this outstanding quality makes life worthwhile, no matter what.

Bridie McKim as Laura
in The Glass Menagerie, Ensemble Theatre 2025
Photo: Prudence Upton