Therry Dramatic Society. Arts Theatre. 8 Jun 2017
It might seem an odd place to stage a musical – the Pale of Settlement of Imperial Russia in 1905 – but Fiddler on the Roof formed part of a style of ‘60s musical theatre that was pushing established boundaries and turning its back on entertaining escapism in favour of more serious depictions of real life struggles.
Tevye the milkman – Fiddler’s central character – is father to five daughters, living an impoverished life in the Russian village of Anatevka, under the ever impending threat of pogroms at the behest of Nicholas II, the tsar to Russia. Tevye is a devout Jew, and an honest man, but his daughters soon test his ideologies, loyalties, and eventually even his faith.
Fiddler is a heavily sanitised version of the events of 1905, which ultimately culminated in the Russian Revolution. University educated, Perchik hints towards this, but the future is left open ended and hanging at the fall of the final curtain. Similarly, Fiddler incorporates what must be one of the tamest pogroms ever enacted; one which the cast of this production manage to remedy with only a few moments of clearing and righting furniture. Despite this, the tale is still endearing, and oddly heart-warming.
Therry’s production rests solidly on the outstanding performance of David Gauci in the central role. Gauci is ably surrounded by a lovely cast who create a wonderful sense of community on the Arts Theatre stage. Gauci’s Tevye remains appropriately light in the context of the material. He wonderfully balances the irony, humour, compassion, and dedication of the religious man with the family man, working his way firmly into our hearts. The duet, Do You Love Me?, between Tevye and his wife Golde (Anne Doherty), is both a highlight and a grounding moment of solidarity.
The whole production has a warm, honest feel to it. Jason Groves’ lighting seems to capture the unassuming nature of the village’s inhabitants whilst casting them in a warm glow of inner prosperity. Peter Johns’ musical direction enhances the strengths in the cast whilst not stretching them beyond the capacity of the ensemble, delivering real balance amongst the players. It is Kerry Hauber’s choreography that transports us, however, and what a delightful sight it is; with some impressively talented male dancers amongst the amateur ensemble.
The show is long, and does take its time to build - both in character and narrative. But it is a journey we are happy to be on with the generous cast and gentle production values. Norm Caddick’s direction is consistent and sweet, and the result is simply satisfying.
A smile rendering production, with a few belly laughs along the way – and tickets are selling fast.
Paul Rodda
When: 8 to 17 Jun
Where: Arts Theatre
Bookings: trybooking.com
IKAG Productions. The Producers Hotel. 8 Jun 2017
Will Eno is a playwright often compared to Beckett. His rolling, discombobulated monologue comprising the text of Title and Deed is instantly identifiable to the ear as having the hallmarks of that Beckett laden dry, dark, and distantly observant voice of an outsider.
Tom Gentry’s self-directed performance is with some merit and many deficiencies, some not necessarily of his making, more the blazing enthusiasm and driven passion of inexperience.
Eno’s unnamed character has no known place in the world and for all we can tell, is not of this world. He is an aimless chimera spinning tales which seem to have neither true beginning or end.
Distance is the key to this work. Textually, in direction and performance. By choosing to direct himself, Gentry has disallowed the absolute necessity of being observed and moved apart from his own preconceptions of the work by a director in a collaborative creative endeavour, pulling out of him a performance and characterisation he is not aware is within him; something challenging, something capable of reaching the layers in the text awaiting discovery.
This is not to say Gentry doesn't offer moments in which, like a brief flash of light, the otherness of the character seems yet to reflect a true ‘humanity’ and push the idea with conviction we too are in communion with - this ‘other’ telling tales to us on the stage. We are one. We are alien.
Unfortunately, such moments are few. Gentry’s static level of delivery and energy drains away a hold on the audience and inhibits variances of energy in performance needing to be accessed and expressed.
David O’Brien
When: 8 to 18 June
Where: The Producers Hotel
Bookings: trybooking.com
The Royal Shakespeare Company and Louise Withers, Michael Coppel and Michael Watt. With Chokey Productions, Just for Laughs Theatricals, Glass Half Full Productions, Paula Marie Black, Greenleaf Productions and Michael Lynch. Adelaide Festival Theatre. 26 May 2017
Adelaide’s reputation for missing out on the large east coast touring productions is quickly becoming a distant memory, and praise-be, for this Australian touring production of Matilda The Musical is a wonder to behold.
So prepare yourselves for another glowing review. One to follow an ever growing archive of positivity and praise which flows from critics all over Australia and the world; not to mention 5 Tony Awards and 13 Helpmanns, to boot. There is, quite simply, nothing to criticise about this spectacular story book adaptation – even from some of the worst seats in the house.
The musical is based on the novel by Roald Dahl, its book is by Dennis Kelly, the music and lyrics by Tim Minchin – and his satirical stylings infuse every aspect of the fantastic score. The show is fun, sad, uplifting, hilarious, clever and, well, brilliant.
Matilda is the miracle child of the Wormwoods, a down and out family who’d prefer she was a boy who paid more attention to the T.V. and displayed a lot less intellectual prowess. Worse, they wish she never existed. The child prodigy already reads and speaks at an advanced adult level, but her family problems are just the beginning. Attending school for the first time brings yet more trouble for poor Matilda, but also hope in the form of a kind and dedicated teacher, Miss Honey, who recognises and encourages her genius. The friendship they forge gives them strength to face their bullies and allows Matilda to discover just how truly special she is.
Matilda, played by Izellah Connelly in this performance, blows us away with a strong and pitch perfect vocal performance. The cast of children is immensely talented - you have to keep reminding yourself that you are watching a group of primary schoolers. It's almost impossible to believe that they could be so accomplished and professional at such a young age. Bravo!
The children are joined on stage by an equally talented set of adult performers, who bring some of Roald Dahl's most iconic characters to life. Miss Honey is as gentle and kind as we imagined reading the book as a child. Lucy Maunder perfectly captures her tenderness and vulnerability, and her presence warms the stage. Leah Lim, as Mrs Phelps, is authentically animated and, with Maunder, provides the perfect foil for the hyperbole of Matilda's idiotic and cruel family.
Marika Aubrey is completely believable as Mrs Wormwood, Matilda's horribly mean and neglectful mother. Her performance of Loud with Travis Khan as Rudolpho is suitably low brow and very entertaining. Daniel Frederiksen plays the feckless Mr Wormwood with vigour, and successfully executes on his character's emotional about-turn at the show's conclusion, showing genuine affection for his daughter at the last minute.
Without a doubt though, James Millar steals the show with his formidable portrayal of the dreaded Miss Trunchbull. Every child's worst nightmare, Trunchbull towers over student and teachers alike with hammer-throwing physic and a mono-brow you can spy from the back rows. Millar stalks the stage with palpable disdain and perfect comedic timing, being hilariously dreadful in all the right ways. One can imagine his characterisation would have made Dahl smile.
Matilda The Musical is a modern musical by which to measure all others. Rob Howell’s stunning set is now one of the most instantly recognisable. Its ingenious construction coupled with spectacular lighting design by Hugh Vanstone and innovative, high intensity, choreography by Peter Darling is unforgettable. Of particular note are numbers like When I Grow Up, which takes place on huge swings that propel out into the auditorium, and School Song, which finds agile performers scaling a wall of alphabet blocks as the letters are presented cleverly throughout the song.
This show is a veritable feast for the senses, and certainly not to be missed; one for the child in all of us.
Paul Rodda
When: 21 May to 16 Jul
Where: Festival Theatre
Bookings: bass.net.au
DreamBIG Children’s Festival. Presented by Drop Bear Theatre, The Seam & Edwina Cordingley. 24 May 2017
Theatre for babies may seem like an indulgent concept to some. There is an understandable tendency to think they are too young for comprehension, and far too young for remembering. For those with a love of music and the stage however, the opportunity to share this with their little one is a very special experience.
Babies are a unique type of audience. They exist in the moment, entirely enthralled if it is interesting and off to discover something else if it is not. Their enjoyment is both audible and adorable - just try and wipe the smile off your face as a baby claps and laughs in appreciation.
So one envies the three players in Rain, as they shall elicit countless such moments during the their run in the DreamBig Childrens Festival. Billed as a "mesmerising and immersive sensory experience", this show is all that and more.
Rain starts with a transition into the piece. Babe-in-arms, we enter a small, black-clad space where long strips of white fabric hang from netting strung above our heads. A soundtrack of wet weather plays as we walk around and amongst the "rain", letting the soft material brush over face and body. With muted light, soft white noise and calming guidance, we are slowly acclimatised to the presence of the show, which is welcoming and relaxed after the stressful rush to get ready and to the theatre in time.
Presently, we are led into the performance space and seated on a soft lamb’s wool rug that edges the white stage. Sarah Lockwood, Carolyn Ramsey and cellist Edwina Cordingley take their positions and it begins. Babies and adults alike are delighted by a mix of cello, voice, percussion, textiles, water, touch, and mist. The trio successfully deliver on a multi-sensory experience.
The audience is intimate at just 10 babies per performance, which sounds small but is actually perfect. After the main event, babies are encouraged to explore the beautifully crafted installation space, allowing them to extend their experience beyond the allotted 40 minutes.
This is an exquisitely simple piece that has been developed with a strong understanding of, and affection for, its target audience. This mummy loved it to the moon and back.
Nicole Russo
When: 24 to 27 May 2017
Where: Rehearsal Room 1, Adelaide Festival Centre
Bookings: Sold out
Emma Knight Productions. Secret Location. Media Preview 23 May 2017.
A stunning secret location forms part of the latest Emma Knights Productions’ show, Chicago. Audience members only find out where they are going once they buy a ticket, and as such there is little one can say about it here without spoiling the surprise. Needless to say it adds a speakeasy vibe with a hint of grand cabaret and is, in itself, a work of art.
Knights' and her production team have assembled an all-star Adelaide cast of professional, semi-professional and amateur actors for this pro-am production, following through on the company’s promise to “create jobs and opportunities for artists in South Australia” - each performer is contracted to be part of the show.
As such, Knights' Chicago has very few weak links, and the individual performances are what most impress.
The ‘media preview’ night also happens to be the final dress rehearsal for the cast, and one of the first for tech teams and performers, only just coming together to run lights, costume, and sound. Whilst sound is not credited in the production notes it is fluently handled by Tim Freedman of Allpro Audio. The secret venue is cavernous, and reverb and echo are professionally abated.
Producer/musical director, Emma Knights, director, Adrian Barnes, and choreographer, Kerreane Sarti have strived to create an immersive performance experience that transports the audience into the prohibition speakeasy era. The overall vision falls just short of sweeping us away however, and an underdeveloped lighting plot (no lighting design credited in the program) is one massive contributor to the shortfall. That being said the direction is tight and purposeful, the choreography is sexy and spectacular, and the performances – both onstage and in the orchestra - are top rate.
Stefanie Rossi leads the charge as Velma Kelly with a stunning all round performance that stands out even amongst a cast of uber-talented performers. Rossi has a beautiful singing voice and a commanding presence. Jeff Lang is the consummate professional in his cocky interpretation of Billy Flynn, demonstrating the focus and skill of a performer with many years’ experience. Fiona Aitken’s smoky voice oozes over Roxi Hart’s more intimate numbers, though the bigger notes prove too much. The Aitken/Rossi duets are uneven despite their attempts to meet in the middle. Mark DeLaine is divine as Amos Hart and puts up a captivating performance which beautifully juxtaposes his towering scale with a shy vulnerability that just works. Melanie Smith is authoritative as Mama Morton and belts out the ballads with ease; her duet with Rossi in Class is a production highlight.
The ensemble of sexy ladies and classy gents take Chicago to new levels with their skimpier-than-usual outfits, raunchy routines, and hands-on audience interaction. The ultra-close up performance can be both blessing and hindrance however, and the confident stand out from the unsure. When the nerves give way these performers will be unstoppable.
This is a lovely piece of theatre which is a credit to the Emma Knights Productions’ company. See it if you can – before the cops move ‘em out of town.
Paul Rodda
When: 24 to 28 May
Where: Secret Location
Bookings: dramatix.com.au