Pelican Productions. Arts Theatre. 5 Aug 2023
One doesn't know how Jen Frith and Kylie Green do it. Year after year Pelican Productions presents massive alternating junior cast after massive alternating cast of juniors. Blockbuster show after blockbuster show. I’ve never seen them do a bad show. And, I’ve never seen a kid onstage who is not pulling his, her or their weight and giving out, right down through the ensemble members.
And, quite frankly, the Disney organisation can stand proud to have their shows delivered with this degree of finesse.
For Adelaide, the reward comes not only in the quality of the entertainment but in the professional training to which the young casts are exposed. Hence, with “Summer” and "Winter” alternating casts, under the musical direction of Ben Francis, powerful voices belt out Broadway style from nascent talent. And the older hands in the casts already have a professional sheen.
Disney’s Frozen Jnr at The Arts is not just a winner because of these factors but also because of the startlingly good production values. The projections of snowstorms are so effective one thinks snow is actually flying out from the stage. And the pace of the show is stunningly snappy, tapping in just about on the quick-fire hour. If flaw there is any, it is in that fraught technology of body mikes and a big cast. And, perchance, vocalists occasionally over-compensating for soundtracks.
There are some big, big voices in this company of which this critic could see only its “summer" cast. Therein there were Annas young and old. In fact, there was an infant Anna in the opening number appearing alongside an infant Elsa, played by Hazel and Edie Frith, twin daughters of the producer Jen Frith. Just a heart-melting first which rather challenged the showbiz records of theatre baby stage debuts. If those gals don’t end up treading the boards…
Subsequent ages of Anna were well sung by Lila Messenger, Vegas Nikolitsis and, as the adult, Abigail Sharp, while baby Elsa’s role was followed by young Elsa with Mia Ricciardelli, then Tahlia Sabatino before Lluka Wadley as big Elsa, the famous Frozen queen. Well done all round.
There were some outstanding characterisations, Aiden Salmon as Olaf and Ava Sirico dancing Snowflake among them.
But, with such a plenitude of fine young talent, it seems unfair to pick and choose. Just smile and applaud.
Pelican is furnishing our future and among its summer and winter ensembles, and from its Music Theatre camps and tuition “nests”, along with its old school rehearsal processes, it is creating a solid foundation for the arts of tomorrow.
Of course, we live in hope of a government willing to recognise the importance for South Australia of the arts for both state economy and reputation. It feels decidedly gloomy at the moment.
Not that Pelican leans on funding. It is a thriving independent operation, its momentum driven by investments of parental love and belief in enablement.
So, three cheers all around, with a fourth for the substance Pelican offers to the future of Australia’s performing arts.
Samela Harris
What: Frozen Jr.
When: 3 to 6 Aug. 23
Where: The Arts Theatre
Bookings: Closed
NB: Next week, August 10- 12 it is presenting the second part of a blockbuster double with Legally Blonde also at The Arts Theatre.
What: Legally Blonde
When: 10 to 12 Aug
Where: The Arts Theatre
Bookings: trybooking.com
Famous Last Words. Goodwood Theatre. 29 Jul 2023
Who would want to be James Watson?
He returns polished from the east to his hometown, sets up a theatre company resident in the gorgeous old Goodie, deconstructs a Strindberg and has the city’s critics headlining: “Wunderkind”.
He’s a hard act to follow. Even for himself.
Now his Famous Last Words company presents Watson’s own words - a play called Proud. It is a stridently political one-hander which features that very promising young actor, Henry Cooper.
It is a lot of words and Cooper does not lose a single one. He delivers, often with machinegun fury, but always with impeccable articulation. Not that they are very nice words. They are downright nasty and written in the sorry semi-literate street idiom of the day.
Proud is about the right-wing nationalist phenomenon, very much inspired by the January 6, 2021 insurrection American Proud Boys but, with reference to the Cronulla riots, transposed to Australia. Watson’s character is called Jack and he is a lad disappointed in his life. He was bullied and humiliated at school and left to care for his dying war hero grandfather by a brother who not only was never there to stand up for him but who also dared to marry an immigrant and move away. He found a new sort of brotherhood from the beer and barbie camaraderie of suburban fascists.
The play is as subtle as a sledgehammer and as didactic as Baptist tub-thumper.
It is the considered passion of a generation, and it provokes in us old theatre hands fond memories of the agit prop of yore.
It offers nothing new except the reminder that there is nothing new. Humanity makes the same mistakes over and over. Unkindness and bullying damages people. Hatred and racial stereotyping are born of ignorance.
How ironic, then, that a play bellowing racial intolerance should produce love. But, of course, one loves Watson and his shining ilk for their laudable zeal. He reminds us of us, and one hopes that his play’s sentiments may at some time, somehow, not be preaching to the choir.
The play is performed in the smaller Goodwood theatre space, which once was a library. Walled in by black drapes, the audience tries not to trip over the footlights as it takes its place on two sides and in two tiers, with drummer Dan Pitt on a corner dais and just three green yard chairs as props. Director Connor Reidy has Cooper move the chairs to symbolise this and that. It’s an old minimalist trope which is either loved or hated by audience members. And, he also has the play’s dramatic emphases underscored by abrupt drum explosions. Some people like a cacophonous shock. This critic is not among them. Damagingly loud in a small venue, she says.
But Famous Last Words is well and truly alight on the map now, and we wait with immense curiosity for what next it presents.
Samela Harris
When: 29 Jul to 6 Aug
Where: Goodwood Theatre
Bookings: eventbrite.com
Disney and Cameron Mackintosh. Adelaide Festival Theatre. 5 Jul 2023
The whimsical adventures of that magical nanny, Mary Poppins, have been capturing the imaginations of both children and adults alike since PL Travers penned those wonderful stories in 1934. The subsequent release in 1964 of the Robert Stevenson film produced by Walt Disney, and starring Julie Andrews and Dick Van Dyke, took it to a whole new level. No less than 13 Academy Award nominations and Disney’s highest grossing film ever!
A source of nostalgia for many, the memorable songs, enchanting characters, and the heartfelt messages resonate deeply with those who were raised on the story. It is a testament to its timeless appeal that generations have embraced and passed down the love for this extraordinary tale, including Cameron Mackintosh who, along with book by Julian Fellowes and score by Richard M Sherman and Robert B Sherman, adapted it into a stage musical.
The Adelaide Festival Theatre explodes into life as Mary Poppins takes centre stage. From the moment Stefanie Jones descends from the heavens with her iconic umbrella, it is clear she was born to portray the beloved nanny. Jones effortlessly embodies the essence of Mary Poppins, blending her prim demeanour with a touch of mischievousness; her stunning voice soaring through the theatre, enchanting everyone in the near capacity opening night audience. Her performance is indeed practically perfect in every way!
In the charismatic role of Bert, Jack Chambers is an absolute revelation and proves a force to be reckoned with. Chambers’ performance is truly captivating. Not only does he possess a remarkable singing voice, but his tap-dancing skills are awe-inspiring. Chambers’ feet create a symphony of rhythm as he effortlessly glides around the stage during Step In Time. Every step, every leap, every intricate tap sequence is executed with breathtaking precision. Bravo!
However, the brilliance of this production is not limited to its leads. The entire ensemble cast shines brightly, each member contributing their unique talents to create a cohesive and memorable performance. Patti Newton’s Bird Woman provides a wonderfully poignant reminder of the importance of love and compassion for all living things, the hauntingly beautiful ballad Feed The Birds swelling in our hearts when Jones joins with Newton in the duet.
Tom Wren and Lucy Maunder as George and Winifred Banks perhaps don’t get the time to truly develop their character’s arcs as the contrasting forces of tradition and change, however their performances are still captivating to watch. Wren perhaps has the biggest character arc in the show and the transformation from rigidity to compassion is truly affecting.
One may be forgiven for a double take when Helen Walsh hits the stage as Mrs Brill, her performance combining all of the mannerisms of both Ellen and Mrs Brill in the Disney film version. The character Robertson Ay, plucked from the books but who did not appear in the film, is portrayed spectacularly by Gareth Isaac. Robertson doesn’t get a lot of opportunities to sing, but when Isaac’s opportunity comes his operatic tones blow the roof off the theatre! The cast of kids includes four young actors and actresses playing Michael and Jane Banks, each sharing the role across the season.
Surrounding these spectacular performances is a true work of art in the set and lighting design by Bob Crowley, Hugh Vanstone, and Natasha Katz. Reminiscent of a whimsical children's pop-up book at times the set dances across and around the stage in perfect harmony with Matthew Bourne and Stephen Mear’s spectacular choreography. Every scene is a visual feast for the eyes, with intricate details and vibrant colours that transport the audience to the heart of the story. The seamless transitions between locations are a testament to the creativity and skill of the production team.
The sound, by designer Paul Gatehouse, has wonderful dynamics and builds to exhilarating crescendos throughout the performance and the orchestra delivers a flawless accompaniment, bringing the iconic songs like Jolly Holiday and Supercalifragilisticexpialidocious to life.
Mary Poppins is an absolute triumph. It is selling well, so book early to avoid disappointment.
Paul Rodda
When: 5 to 27 Aug
Where: Adelaide Festival Theatre
Bookings: premier.ticketek.com.au
AFCT, Limosani Projekts, Brink Productions. Space Theatre. 30 June 2023
Bàrbaros is a tremendous, powerfully visceral nightmare journey exploring the darkest psychological depths of the divide between civilisation and outright barbarism.
What divide? It’s a toss-up as if such a thing ever existed in Choreographer Lina Limosani’s intensely compelling production.
In a mere 55 minutes, Limosani compresses slug like beginnings of life, emergence of primeval, animal level sentience, evolving into endless warring conquer or be conquered savagery, explicitly innate to ‘civilised’ human culture for a good 2,000 years (counting pre 1 AD.)
Beautiful and terrifying to behold, dancers Anton, Jana Castillo and Rowan Rossi strike an extraordinary balance between movement offering the animalistic combined with the gestures of highly evolved political theatre we associate with power exercised from on high.
Thom Kitney’s lighting leads each phrase of the work. Every one. Most unusual but incredibly effective in psychologically reinforcing the sense of deep hellishness Bàrbaros explores. It is a perfect light design against Thom Buchanan and Renate Henschke’s set design, and Henschke’s costume design.
The biggest psychological king hit comes from Limosani’s masterful, revolutionary use Japanese black shadow puppetry, married to sound composer Sean Williams’ and James Oborn’s soundtrack.
Rowan Rossi is the shadowy dark black cloth substance which enshrouds, twists, and releases Anton and Castillo as if devouring, enslaving then spitting them out into a new phase of dark existence simultaneously embraced, yet struggled against.
This sole element of Limosani’s production is the psychological one puncturing any sense of secure belief there’s a real divide between civilisation and barbarity. The ultimate absolute heart of darkness.
David O’Brien
Where: The Space Theatre
When: Closed
Bookings: Closed
Adelaide Cabaret Festival. Adelaide Festival Theatre Quartet Bar. 24 Jun 2023
The Desert Plea is a ‘work in development’ – the director and producer of the show (Matthew Briggs, Under the Microscope) is very clear about that – but ‘work in development’ almost sounds like an apology, and this show needs none of that. It’s not yet perfect, but it’s future is exciting, and the large audience in the Quartet Bar are already singing its praise.
The Desert Plea is the story of Alice, a musician who ventures into the South Australian bush to an almost ghost-like town with a mission to suggest to its residents a different slant on the possibilities of living their lives. Alice does this through her music. Her mission might be considered arrogant, as she assumes the role of an uninvited saviour, but the experience is cathartic, and she uncovers hidden aspects of herself. In many respects, she experiences healing. Indeed, she pleas to be reconciled with herself and her unique view of a changing world.
Musician/singer Fleur Green and poet David Chapple have collaborated to write original songs and poetry to give life to Alice’s journey, and the result is very affecting. Green sings her songs as she accompanies herself at the piano, and accomplished local actor Rory Walker gives his voice to Chapple’s well-crafted verse. Song. Poem. Song. Poem. And the story unfolds.
Green sings and plays well, but the sound engineering was not always sympathetic to her vocals, playing, and the formal structure of the music. Indeed, some of the early numbers were difficult to hear clearly, and the verse that followed was needed to derive a sense of what was just sung. This will improve as the work is further developed, perhaps with the addition of other instruments to smooth out the sonic balance. The audience however did not shy away from the challenge, and many could be seen intently listening through closed eyes so that the visual would give way to the aural.
Green is the focus of attention – she is alone on stage with her piano and microphone, and the attention does not appear to sit comfortably on her shoulders. Her occasional patter is mildly self-conscious but when she plays the piano and sings, all of that is instantly forgotten. She becomes a different person. She becomes Alice.
Her compositions traverse a range of different musical styles. There are heavily syncopated and complex rhythms, and there are dazzlingly accurate arpeggios up and down the piano sitting under carefully constructed lyrics. The poetry is also complex at times, with polyrhythms that have life breathed into them by Walker’s expert phrasing and enunciation. It’s almost Sondheim-esque at times. These are often followed up by empathetic music of the same ilk.
Arguably, The Desert Plea is more theatre more than it is cabaret, and if that is true, then the next iteration of the show will benefit from more attention being paid to production elements that enhance the story telling: a narrator in person, rather than a recorded voice; projected images to underline the narrative of the poetry; additional musicians; enhanced sound engineering that treats the show as theatre rather than a gig.
The Desert Plea has a big heart. It puts some very important issues ‘under the microscope’ (pun intended), but perhaps tries to say too much. It has the very real potential to become an important piece of theatre.
Kym Clayton
When: 24 June
Where: Quartet Bar
Bookings: Closed