TURANDOT - Handa Opera On Sydney Harbour

Music: Giacomo Puccini. Libretto: Guiseppe Adami and Renato Simoni

Conductor: Brian Castles-Onion. Director and Choreographer: Chen Shi-Zheng. Set and Costume design: Dan Potra. Lighting Design: Scott Zielinski. Video design: Leigh Sachwitz. Sound design: Tony David Cray. Opera Australia Chorus. Australian Opera and Ballet Orchestra.

Handa Opera on Sydney Harbour – March 24 – April 24

Dress Rehearsal on March 22^nd reviewed by Bill Stephens

It’s not every tenor who gets rewarded with a shower of fireworks when he hits the money-note in “Nessun dorma. Riccardo Massi did at this performance of “Turandot”, and he deserved it because he sang the aria magnificently.

Riccardo Massi sings "Nessun dorma" 

Photo: Hamilton Lund.

It’s not every soprano who has to sing her big aria perched precariously on a small platform thirty metres above the stage. Dragana Radakovic did, looking as imperious as an ice princess should, while singing superbly.

Dragana Radakovic - Turandot singing from her tower 
Photo: Prudence Upton

And it’s not every Emperor who gets to make his entrance suspended high above his audience in a huge throne.  David Lewis did, and he certainly was very impressive, as was Gennady Dubinsky as the Mandarin who was flown in by crane on a tiny platform.

David Lewis as the Emperor suspended above the stage - Centre 
Photo: Hamilton Lund

Gennadi Dubinsky as the Mandarin makes his entrance 

Photo: Prudence Upton

These are just some of the memorable moments in a spellbinding production in which memorable moments come thick and fast, even on a night when the weather refused to co-operate. But despite the difficult conditions caused by the wind and rain, which, while uncomfortable for the audience huddled beneath their plastic ponchos, and no doubt, very difficult for the large cast who had to perform in voluminous costumes, and negotiate large set pieces on the wet, raked stage, the production still managed to enthral, due as much to the compelling performances of the cast, as to the continually unrolling spectacle.

While Chinese director Chen Shi-Zheng’s production offers plenty of spectacle with well-choreographed mass movement sequences, generous use of atmospheric video projections, a fire-spouting dragon,  fireworks and a huge pagoda which continually changes colour to suit the mood of the action,he also carefully focusses the human aspect, so that the execution of the Persian prince and the suicide of Liu in particular become stunning moments, as does the eventual capitulation of Turandot to Prince Calaf.

Shi-Zheng also choreographed the sequences for the large troupe of dancers for which his use of warrior-like movements for the men, and graceful traditional Chinese classical movements for the women, brought an agreeable sense of authenticity to the production. 

Dragana Radakovic as Turandot - Riccardo Massi as Prince Calaf

Photo: Prudence Upton

Riccardo Massi cuts an impressively heroic figure as Prince Calaf, prepared to risk all to achieve his goal of winning the ice-princess,Turandot. Costumed in red velvet robes and leather armour, he sings magnificently and recklessly commands the stage. A real action hero who ignores commands, requests and advice in his quest to conquer the ice princess.  Perhaps however he might have shown a little more sympathy for the tragic Liu who, in an effort to deflect attention from him, snatches his dagger and uses it to commit suicide. Following which Calaf calmly retrieves the dagger, wipes it on his shoe and returns it to its scabbard.

Dragana Radakovic as Turandot - Riccardo Massi as Prince Calaf 
Photo: Prudence Upton

Making her Australian debut, Serbian soprano, Dragana Radakovic brings a luscious voice and glamorous presence to the role of the ruthless princess who spends her time composing impossible questions which her suitors must answer correctly or be put to death. Radakovic also wins brownie points for her bravery in fearlessly coping with the previously-mentioned platform, then descending to stage level via a dodgy looking set of steps. Her reluctant acquiescence to the persistent overtures of Calaf is charmingly portrayed.

Hyeseoung Kwon as Liu 
Photo:Prudence Upton

Hyeseoung Kwon is also superb as the love-sick Liu, who gives up her life to save Calaf. Apart from singing gloriously, she manages to imbue her character with a quiet dignity which beautifully captures the despair and hopelessness of her situation.  Conal Coad, as Timur, Calaf’s blind father, superbly assists her in realising this characterisation.

John Longmuir, Benjamin Rasheed and Luke Gabbedy, costumed in outrageously huge robes, bring a welcome touch of levity to the proceedings as the comic trio, Pong, Pang and Ping.

At this performance the sound system took some to settle on the correct levels, but once this was achieved the balance between the singers and Maestro Brian Castles-Onion’s lush Australian Opera and Ballet Orchestra was a joy to experience. 

Handa’s Opera on Sydney Harbour are a very special and unique experience. On a balmy night it is sheer magic, but even when the weather is inclement, as it was on this occasion, that, curiously seems to add a further frisson to the experience.

Purists might curl their lips at the fireworks and gratuitous special effects, but this production of “Turandot”, the fifth in the series, staged as it is on Sydney Harbour, offers a truly unique and unforgettable opera experience the like of which can be experienced nowhere else on the planet. Do yourself a favour and don’t miss the opportunity if you can help it.  

  

"Turandot" on Sydney Harbour 
Photo: Prudence Upton

    This review also appears in Australian Arts Review.  www.artsreview.com.au

GHOST - THE MUSICAL

Book and Lyrics by Bruce Joel Rubin

Music and Lyrics by Dave Stewart and Glen Ballard

Directed by Matthew Warchus

Choreographed by Ashley Wallen

Musical Director – Dave Skelton

Theatre Royal Sydney 19^th March 2016. 

Reviewed by Bill Stephens

No matter what your reaction was to the heavily sentimental, paranormal 1990’s movie, which starred Patrick Swayze, Demi Moore and Whoopi Goldberg, this dazzling new stage adaptation, with its astonishing state-of-the- art high-tech wizardry and compelling central performances, provides an exciting and remarkably moving theatrical experience.

Adapted by Bruce Joel Rubin, who won an Oscar for best screenplay for the film, and directed by Matthew Warchus, who also directed “Matilda – The Musical, this stage version takes full advantage of the possibilities offered by LED screens, video projections and even illusionists, to create some truly remarkable stage moments, and for those interested in such things, is an excellent example of contemporary music theatre staging. But as clever as the effects are, it is ultimately the performances of the excellent cast that leaves the strongest impression.

Rob Mill and Jemma Rix  as Sam and Molly 

Jemma Rix and Rob Mills are beautifully teamed as the young lovers, Molly and Sam, who, as the musical commences, are discovered busily setting up their dream apartment in a New York loft. Molly is a young artist and Sam, a high-flying banker. On their way home from a celebratory dinner, they are mugged and Sam is murdered before he can tell Molly he loves her.  However Sam’s ghost lingers, and discovers that, through a pseudo-psychic, Oda Mae Brown (Wendy Mae Brown), he can communicate with Molly.

The storyline remains faithful to the film and scenes set in busy offices, on trains and rainy New York streets transition seamlessly through a series of cleverly choreographed production numbers which propel the story forward.  Despite the technical wizardry however, it is the scenes in the loft, between Molly and Sam which linger in the memory, particularly the hyper-romantic pottery wheel scene, which of course is what everyone has come to see. It works a treat, thanks to the committed, emotionally –charged performances of Rix and Mills both of whom exude genuine star quality in these physically demanding roles.  

The audience is always aware that Sam is a ghost, and that Molly can’t see him, but the physical chemistry between Rix and Mills makes their scenes together totally convincing and affecting.

Mill’s larrikin version of the hit song “Unchained Melody” in the first act was particularly appealing, while Rix provided a vocal highlight with her beautifully sung interpretation of “With You”.

Several members of the cast are reprising the roles they played in the U.K. and touring versions, among them David Roberts, who replaced Alex Rathgeber, as Sam’s disloyal and treacherous friend, Carl Bruner.   Roberts has a fine voice and presence and his journey from helpful friend to hysterical drug-addled assassin is chillingly realised.

Wendy Mae Brown as Oda Mae Brown 

Totally delightful is Wendy Mae Brown, big, bold and exuberant as Oda Mae Brown, the role which won Whoopi Goldberg an academy award as the pseudo-psychic who gets more than she bargained for when Sam discovers that he can use her as his medium for contacting Molly. Brown lights up the stage on every entrance and her introductory number, “Are You A Believer?” which she performs with two other generously proportioned off-siders, Evette Marie White and Lydia Warr, is total pizazz.

David Denis as the Subway Ghost and Ross Chisari as the low-life hit-man, Willie Lopez, both contribute memorable performances, and it was good to see former Canberran, Blake Appelqvist, among the hard-working ensemble.

Jemma Rix and ensemble 

The sound design is pin-you-back-in-your-seat loud, which seems appropriate for the New York street scenes, but rather overwhelming for the more intimate passages. Despite all the technical wizardry surrounding it however, Dave Skelton’s comparatively small pit band manages to make its presence felt achieving a satisfyingly punchy account of the attractive score.

 

Wendy Mae Brown, Rob Mills and Jemma Rix 

  This review first published in the digital edition of CITY NEWS on 21.03.2016

BIJOU - A Cabaret of Secrets and Seduction.

Written and performed by Chrissie Shaw

"Madam Bijou in the Bar de la Lune"
Photo: George Brassai

Pianist – Alan Hicks,

The Famous Spiegeltent – Civic Square – Canberra

8^th March 2016

Reviewed by Bill Stephens

Inspired by a photograph called “Madam Bijou in the Bar de la Lune” which was taken in 1932 by George Brassai for his book “Paris de Nuit”, veteran Canberra entertainer, Chrissie Shaw has devised an exquisite and intriguing cabaret.

Little is known about the real Madam Bijou, so Shaw has imagined an exuberant life for her. As the show begins Bijou is discovered, seated at her favourite table. She’s wearing faded finery and her fingers are laden with jewels...real or fake?....the audience can only wonder.

Each jewel is the catalyst for sparking a new memory in Bijou of some person or encounter earlier in her life. The memories are either delightful or distressing, but she shares each without inhibition or embellishment, as she wanders among her audience offering to read palms, or collecting tips and stray glasses of wine.

Chrissie Shaw as Madam Bijou

Shaw is a master storyteller with the ability to immediately capture the curiosity of her audience with a meaningful glance, a pregnant pause, a quick, mysterious smile. Within minutes she has the audience captivated with stories of her lovers, hanging on her every word as she talks of the young fortune hunter who deserts her, the bishop who seduces her, and the sheik.  Are these stories real or are they simply a figment of Bijou’s imagination? Who would know?  

Her moods change from beguiling to accusing, from wicked to innocent in a flash. She’s equally compelling as a world-weary old woman; a 12 year-old girl about to receive her first holy communion; or a madam performing an “interpretive dance” for an appreciative client.

Punctuating and embellishing Bijou’s stories are carefully chosen songs by composers of the era, Satie, Debussy, Poulenc , Milhaud and others, but it is Brecht’s “Ballad of Sexual  Obsession” which most accurately suggests the key to Bijou’s current plight. Shaw sings them all charmingly in either French or English as appropriate, in a clear voice dripping with character, superbly accompanied on piano Allan Hicks. Hicks doubles as Bijou’s friend, the bar pianist, sometimes joining Bijou in song, providing gentle vocal harmonies.

The other star on this occasion was the Famous Spiegeltent, replete with its own faded finery, providing the perfect environment for this beautifully conceived and strangely affecting little show. Its many wooden-framed mirrors mischievously and unexpectedly revealing Bijou's

thinly-veiled vulnerability.

Melbourne readers will have the opportunity to see “Bijou – A Cabaret of Secrets and Seduction” when it’s performed at The La Mama Courthouse theatre from June 15^th – 19^th.

 .

This review also appears in Australian Arts Review..  www.artsreview.com.au

NATIONAL CAPITAL ORCHESTRA CONCERT

Musical Director: Leonard Weiss

Guitar: Matt Withers

Q Theatre, Queanbeyan 20 March

Review by Len Power

There was virtually a full house at the Q in Queanbeyan for the National Capital Orchestra’s first concert for 2016.  Musical director, Leonard Weiss, gave us three contrasting and entertaining works by Nigel Westlake, Joaquín Rodrigo and César Franck.  Guitarist, Matt Withers, played with the orchestra for the Westlake and Rodrigo works.

Leonard Weiss, the conductor, is an award-winning composer, conductor and performer and an ACT Finalist for Young Australian of the Year 2016.  Matt Withers is an internationally acclaimed classical guitar performer.

Nigel Westlake’s ‘Antarctica Suite’ for guitar and orchestra is derived from Westlake’s score for a 1991 Australian documentary of the same name.  It’s a very colourful work in four distinct sections evoking the atmosphere of Antarctica.  The opening section sets the scene of isolation and cold very well and the Penguin Ballet section is quite delightful.  Leonard Weiss and the orchestra achieved a high quality sound in this work and Matt Withers guitar playing was excellent.  The final section of the work was very well played.

The second presented work, Joaquín Rodrigo’s Concerto De Aranjuez, is a popular concert work from 1939.  Listening to it reminds you of music from Hollywood western movies at times.  It requires a highly skilled guitarist to play it with the orchestra and Matt Withers’ work here was breath-taking, especially in the most well-known second movement.  The orchestra captured the Spanish atmosphere of this work very nicely and there was especially fine playing from the woodwinds.

The final work, César Franck’s only Symphony in D Minor from 1888 is also a well loved concert piece.  It’s complex but accessible with various melodic themes appearing and re-appearing throughout the work.  The slow second movement was beautifully played but Leonard Weiss kept the best until last, thrilling us with a magnificently played grand final movement.

The National Capital Orchestra is drawn from the Canberra community.  Once again, it is clear how lucky we are to have so many talented musicians among us.

Len Power’s reviews can also be heard on Artsound FM 92.7 ‘Artcetera’ program on Saturdays from 9am.

Rock of Ages - Canberra Philharmonic Society

Review by John Lombard

A tribute show that stitches together old hits to play on nostalgia should by all rights be a bit of a dud, but Rock of Ages defies the odds to deliver a spectacularly entertaining night of rock.

In a plot that could have been lifted from a Muppet movie, the Hollywood Sunset Strip and its hard living rock and roll scene are under threat by camp German property developers who want to raze the area to make way for condominiums and malls. The locals rally around legendary bar The Bourbon Room in an attempt to save rock and roll itself from the depredations of greedy guys in suits. And while all that is going on, talented hopeful Drew (Dave Smith) is trying to break into the big time while wooing waitress and aspiring actress Sherrie (Emma McCormack).

When we reach the finale and "Don't Stop Believin'" by Journey plays, it becomes clear that writer Chris D'Ariuenzo was working backwards from that moment, so of course the story had to involve a small town girl trying to make her way in the lonely world. Drew and Sherrie have a very gentle romance, hindered by their mutual gormlessness more than anything else. Dave Smith's vocals are as impressive as ever and he invests the character with Labrador-like innocence and likeability. Emma meanwhile is fantastic as Sherrie, squeezing every drop of humour out of her part with some nimble physical comedy.

The overall feel of the show is surprisingly gentle: sex, drugs, and rock and roll are all accounted for, but mostly this is just a clean good time. The humour is wry and self-deprecating, with narrator Tim Stiles breaking the fourth wall frequently to comment on the cliches of musical theatre that the show is systematically ticking off. This is a mass market musical with no rough edges, but fortunately the music is so amazing that it is impossible not to enjoy the show with a grin. The cast are having a ball, feeding off the love and nostalgia of the audience to give stellar performances.

Tim Stiles as the narrator/roadie/plot wizard is playing the part he was born to play, revving the engine of the show from the very start and never letting up. Ian Croker is well-cast as the grizzled, slightly weary owner of the Bourbon Room, and is tender and paternal to the enthusiastic youngsters who come to his bar to rock out. Anita Davenport has a full arc as sweet-natured businesswoman who rediscovers her activist and Deadhead roots, and has a sweet romance with Hayden Croswaller's hilariously fey German. But overall the cast are great, with the ensemble showing tremendous enthusiasm for the show.

But Will Huang must be singled out for special praise for his amazing incarnation of oversexed rock God Stacee Jaxx. Jaxx gets his comeuppance surprisingly early in the show and then lingers to show the dark side of the rock and roll life. However Huang's characterisation is so spot-on and his performance so likeable that we end up rooting for him. Huang attracted not only laughs but a full gamut of titters, chortles and guffaws, from his entrance lathered in the hands of attentive girls to his final exit decked out in full mariachi gear.

Much like pop tribute show Back to the 80s, there is a hint of acceptance that life is sometimes not what you planned it to be. On the principle that most of the audience who actually lived through the 80s did not go on to make it in rock, the leads never quite find the glory that set out for, but achieve a humbler kind of happiness. But the ride can still be fun, especially when you have some great rock blaring on the stereo. Director Jim McMullen nails it: my face melted.

SETH DRURY - BRING BACK THE BARITONE

Morning Melodies

The Q, Queanbeyan, 9^th March 2016.

Reviewed by Bill Stephens

Tall and Coltish with a big, beaming smile and affable manner,  Seth Drury bore a striking resemblance to a young Hugh Jackman as he bounded onto  the stage of The Q in Queanbeyan to present the opening number of his show “Bring Back the Baritone”.  The song did nothing to dispel the impression either - a nicely phrased version of Rogers and Hammerstein’s “Oh What a Beautiful” from “Oklahoma”.

A graduate of the Regional Institute of the Performing Arts, and Brent Street, Sydney, Drury has been steadily  building his career performing in productions of “Grease”, “Fame !”, “The History Boys” and most notably, playing the lead in the Australian production of “Idaho! – The Comedy Musical”.

Returning home after performing with Universal Studios in Singapore, he launched his first cabaret “Unmasking Prince Charming” which was well received at the 2015 Melbourne Fringe Festival.

“Bring Back the Baritone” is his second cabaret creation, and besides from being an excellent showcase for the burgeoning  talents of Drury, the show contains several unexpected repertoire choices, bought about by Drury’s very inclusive definition of “Baritone” to embrace  singers as varied as Elvis Presley, Michael Buble, Bing Crosby, Johnny Cash and Peter Allen.

Expertly accompanied by Daniele Buatti on piano and Anyerin Drury on guitar and keyboard, highlights included beautifully sung versions of Lerner and Lowe’s  “If Ever I would Leave You” from “Camelot”,  Boubil and Schonberg’s “Stars” from “Les Miserables” and a nicely constructed  medley of Johnny Cash songs.

Special material in the form of a clever one-man parody of Queen’s “Bohemian Rhapsody”, and a terrific medley of songs associated with Frankie Valli and “The Jersey Boys”, provided opportunity for Drury to show off some quirky dance moves.

It was a pity that at this performance he demonstrated a tendency to depart from his script to make superfluous, off-the- cuff comments like “Isn’t that a beautiful song?”  This type of remark may engender a muffled audience response, but they also waste time, and rob the show of its polish. 

Indeed, the script for this show would benefit from some sharpening to eliminate poorly considered generalities, such as the assertion that it was Bing Crosby who made “Old Man River” popular. Many eyebrows hit the ceiling at this remark, particularly when it was followed by a performance of what was described as being the Bing Crosby version of this song, which captured little of Crosby’s style or presentation, exposed some faulty intonation, and provided the lowpoint of the show.

The intonation problems resurfaced in the finale song, a disappointing version of the Jerry Herman’s “I Am What I Am”. This was a pity, because it robbed the show of its big finish.

There’s no doubting that Seth Drury is a talented performer of whom we can expect to see more.  “Bring Back the Baritone” provides him with an excellent showcase to show off his talents, but a session or two with an experienced director, to knock off the rough edges, could easily transform what is now simply “ a very enjoyable show” into a must-see. 

 

                  This review also appears in Australian Arts Review  

                                    www.artsreview.com.au

 

Machu Picchu by Sue Smith

Machu Picchu

Machu Picchu by Sue Smith.  Sydney Theatre Company and State Theatre Company of South Australia, at Wharf 1, Sydney, March 9 – April 9, 2016.

Directed by Geordie Brookman; Set and Costume Designer – Jonathon Oxlade; Lighting Designer – Nigel Levings; Composer – Alan John; Sound Designer – Andrew Howard.

Cast: 
Elena Carapetis (kim/Nurse Jen/Backup Singer/Guilt)
Darren Gilshenan (Paul)
Luke Joslin (Marty/Elvis)
Annabel Matheson (Lucy/Pain/Backup Singer)
Lisa McCune (Gabby)
Renato Musolino (Lou)

Reviewed by Frank McKone
March 16

This is a new Australian play, about the fact that our lives are actually a matter of accident, despite our assumption that we will decide who comes into our lives (to misquote John Howard).

And it happened to me.  Sydney friends just chanced to be in the audience unbeknown to me, so I asked them what they thought over a post-show coffee (except that they had hot chocolate which I had not thought to order at that time of day – for me it’s a supper-time indulgence).

What they said surprised me a bit, too, until I considered their reasoning: “intriguing” “but not memorable”, they said.

First, though, what’s accidental about Machu Picchu (apart from the spelling, which has to be watched very closely)? 

For engineering students, acting together in their annual revue is entirely predictable, and so is the result of the after-revue party.  There are some of the expected lumpy moments in the course of true love, until Paul buys Gabby a surprise one-third of a horse, and a daughter Lucy is born.

It’s not surprising, either, that both are fascinated by the engineering feat of the Incas who built the city of Machu Picchu on a very high, very narrow ridge, so well designed that it has stood virtually unaffected by mountain uplifting, constant earthquakes and massive rainfall for more than 500 years, while their Spanish Conquerors’ cathedrals regularly collapse and are washed away in mudslides.

The accident which turns Paul into a paraplegic, sends him half-mad, and leaves Gabby angry and unwilling to be nothing more than his carer for the foreseeable future, is the result of Gabby driving them into a tree when a kangaroo leaps unpredictably across their road in the dark, as only kangaroos can do.

Lucy is by now a young doctor (at work, not in the car), Paul has spent lengthy periods away from home working on water supply and sewerage for an NGO in Cambodia, while Gabby has had to struggle with the business of being a woman and a mother, often alone, establishing her own career.  They know everything about Machu Picchu, but they’ve never been there.  They are sort-of arguing when they hit the tree.

It’s my duty, of course, not to write the rest of the story.  It certainly is intriguing, but it is not as memorable as one might hope.

The reasons for this are nothing to do with the quality of the directing and acting – you know what to expect with Darren Gilshenan and Lisa McCune leading the way.  The stage design, lighting and sound all work very well in Wharf 1’s floor level ‘corner of the space’ shape with the audience on three sides, which is the regular arrangement here, at Belvoir and with a slight variation at the Ensemble – the established practical version what was once called ‘theatre-in-the-round’.

It’s the writing, and maybe in the directing of the development phase of this new work, which makes the play intriguing.  Scenes are laid out in a complicated arrangement of flashes backwards and forwards, in which the beginning of the second hour (after a decent 20 minute interval) seems as though it might be about to repeat a cycle – except that it doesn’t.  Unexpectedly, bits of information are filled in, and in the process, changes in relationships take place, not only between Paul and Gabby but also between them and their old-university, now married too, friends Marty and Kim.  And including Lucy.

Yet the play is not “memorable” (by which my friends said they meant that they did not feel locked in by powerful emotions).  Despite the content and strength of acting of many scenes which were capable of engendering such emotions, the deliberateness of the structuring of the play became an end in itself.  Clever though it was, the drama felt contrived.  The author’s (or maybe the director’s) hand was revealed.

I feel a bit cruel quoting from ‘A message from Andrew Upton”, the artistic director of Sydney Theatre Company, who wrote in the program By any measurement, Sue Smith came late to playwriting.  Up until a few years ago, her writing lived mainly on the small screen.  Judging by her example, I think there’s something to be said for a writer stretching new muscles at a time when the ideas and experiences that surround them are thoroughly grown up.  This seemed rather condescending when I read it before seeing the show, and I still feel that because the ideas in the play are ‘thoroughly grown up’.

Geordie Brookman wrote in his Director’s Note that ...there is a deep knowledge at the centre of the text that can see that life’s journey bruises us and within each bruise exists both joy and sadness.  Here, indeed, is grownup-ness.

So I’ve concluded that the skills that Sue Smith has developed in her writing ‘mainly on the small screen’ show through in the clever structuring of the action, but that writing ‘memorable’ work for the stage entails creating the illusion that the scaffolding of the drama is invisible – until long after seeing the show, when the emotional power has waned somewhat in reflection, and an academic interest in the engineering behind the scenes might be indulged. 

Just as Paul and Gabby are fascinated by the study of the Incas’ hidden engineering techniques in constructing the emotional wonder of Machu Picchu.