Red Phoenix Theatre and Holden Street Theatres. Holden Street Theatres. 23 May 2019
A-grade on his way to C-grade Hollywood action star Jefferson Steele is advised by his agent to arrest the skid with a working retreat in England. He is resigned but ready to tackle King Lear with the Royal Shakespeare Company in Stratford-upon-Avon – Kenneth Branagh and Judi Dench in tow. But there are many Stratfords in Britain, and – shock horror - his engagement is instead with the amateurs of the Stratford Players of Suffolk who have hired the star to save their theatre from demise.
British writers Ian Hislop and Nick Newman teamed up to write the movie in 2008. Burt Reynolds was miscast as Steele and the film flopped. They resurrected the script as a play in 2014 and wrote in some of Burt’s barbs from the production of the movie – a case of art imitating life imitating art. It’s a fish-out-of-water idea and the playwrights beautifully and repeatedly juxtapose American and British values, amateur and professional ethos, and British and American acting styles – the latter echoed in the play by quoting the apocryphal exchange between the classically trained British Olivier and the American method actor Dustin Hoffman where Laurence says, “Why don’t you just try acting?” The play weaves a windy road of humorous plot intrigue to ensure the unsurprising softening up of the brittle Steele isn’t straightforward. And throws in snippets of King Lear which reflect the drama in the rehearsal room.
There couldn’t be a finer bunch of amateurs than the Red Phoenix theatre company to stage this charming British comedy. One doesn’t think director Michael Eustice would have considered anyone other than his talented brother, Brant Eustice, as Steele. Brant employs the typically growly low tones of the American voiceover artist with the cadence and menace of Jack Nicholson to augment and enhance the delicious sarcasm of the stereotype delivered by Hislop and Newman. Bravo! The writers also capture the intrigue, pettiness, hopes and desires of small town English am-dram with considerable empathy, and the performances all rise equally to the occasion. Everyone shines, but it's Petra Schulenburg, in her key role of the director of the Lear and the main ego masseur of Steele, who simply oozes the constancy, confidence and charm of her character throughout the show. Lindsay Dunn, Tracey Walker and Derek Crawford all have star turns and Michael Eustice most successfully assigns to them larger-than-life and expressive personae.
Michael Eustice also sprinkles around the theatrical magic with gimmicks, special effects, props and designs that appear simple in execution but are actually quite challenging; lovely and surprising to see. Kate Prescott’s set is a wonder in function and presentation, and Richard Parkhill’s lighting adds focus, especially during the Lear scenes. Costumes (no credit) would not have been easy work and Nicholas Ely, as always, creates intriguing poster images that fetch the audience.
First night looked technically perfect and the outstanding performances will continue to jell together. Another Adelaide premiere success for Red Phoenix, and a very funny one, too.
David Grybowski
When: 23 May to 1 June
Where: Holden Street Theatres
Bookings: holdenstreettheatres.com
Adelaide University Theatre Guild. Little Theatre. 15 May 2019
Once again Megan Dansie brings to the austerity of the Little Theatre a well-rounded and absorbing evening’s entertainment, albeit it is not for everyone. Audiences are well warned that Don Juan in Soho is confronting and, indeed, it evokes a few gasps but the play, written by Patrick Marber with a nod to Moliere's Don Juan, is a farce with a tragicomic spirit, so shock is assuaged by contempt, pity, and laughter. It’s quite the roller coaster. Don Juan, here known as DJ, is a degenerate nobleman whose licentious exploits are enabled by his long-suffering servant, Stan.
Through the generations, Don Juan has been played by some of the world’s romantic heavyweights: Errol Flynn; John Barrymore; Johnny Depp; and most recently in the long-running London production of this play, by David Tennant. In this instance we have stalwart Adelaide character actor Peter Davies who is altogether more suave and handsome than he is sexy. It is a huge and complex role he has to fill, what with the nuances of high breeding, torrents of wonderfully perspicacious and provocative philosophising, drug-addled debauchery, and the desperate urges of satyriasis. He makes a good whack at it especially in the outrageous multitasking fellatio scene. It’s a strong against-the-odds showing from Davies but it is Matt Houston as Don Juan’s hapless offsider who captures the eye and utterly steals the show. He assumes a delectably funny rustic accent and a long-suffering disposition, complete with a splendiferous repertoire of body language. His timing is impeccable, as are his long meaningful looks and touches of pathos. He is emerging as one of the treasures of the Adelaide stage.
It is a large cast with which director Dansie peoples the stage in some lovely, moody scenes and moments of anarchical bedlam. Well costumed and lit, there are some lovely cameo performances, among them Kate Van Der Horst's Cockney Lotte and Ronald Densley's pukka Col, Matthew Chapman as Pete and Peter Bleby as poor old dad. There is lively support from Miriam Keane, Sarika Young, Ellie O’Leary, and Rezuanul Jewel. And let’s not forget AJ Bartley in whiteout as the statue. There are moments when Dansie could whip the pace a little but she could never improve upon the feel-good curtain call which sends the audience out smiling into the dark autumn night.
Samela Harris
When: 15 to 25 May
Where: Little Theatre
Bookings: trybooking.com
Galleon Theatre Company. Marion Cultural Centre. 11 May 2019
Galleon's Moving Mountains is reliable farce. It delivers on the laughs and there is much coming and going through doors. In the hands of director Erik Strauts, and his cast of players, it makes for a very enjoyable evening out at the theatre.
Charlie Fuller is all about moving mountains; particularly when it comes to the ladies in his retirement village. Charlie has “arrangements” with many of the women, and a reputation to boot, but when this friend-with-benefits falls in love, everything starts to unravel. Andrew Clark’s Charlie is charming and affable. The show hinges on his performance, and Clark carries the cast of crazy characters through the highs and lows with impressive energy. Lindy LeCornu and Kathy Strauts as Charlie’s lovers Gwen and Harriet, don’t get a lot of opportunity for character development but they absolutely bring the laughs.
When Charlie’s daughter Elaine, played by Sharon Pitardi, shows up the stakes are really raised. The paternal relationship between Pitardi and Clark is initially hard to buy as the two seem closer in age than father and daughter. However their performance overcomes this quickly.
Elaine is eagerly followed by her hotfooted wannabe lover Robert, who is also her and her husbands stock broker – with a wife of his own! Theirs is all the worst aspects of relationships set in stark contrast with the burgeoning love of Charlie’s life. Josh Van’t Padje embodies Robert with a nerdy energy that fits, but feels a tad desperate in the shadow of Pitardi’s constant rejection.
But it is when Polly Adamson moves into the village that Charlie becomes besotted. Robert is her son and, in a sly move on his part, he aims to see more of Elaine whilst visiting his own dear mother. Polly is a shy widower, and Charlie sees his opportunity to “move her mountains” and gets straight to work. Shelley Hampton delivers the naïve Polly at first with timidity, but she soon comes out of her shell.
One might think this farce replete but enter Adrian Heness as Marc, Polly’s young nephew, and sparks really fly. Marc is in love with an evasive woman and seeks Charlie’s help to successfully court her. Charlie’s advice is, of course, sage and (spoiler alert) when her discovers that the object of Marc’s affection is his own, Polly, the wheels completely fall off. Heness’s Marc is honest and one never fails to believe he is captivated by the much older Polly.
The whole cast come and go from Charlie’s apartment – well designed by Brittany Daw and lit by Luke Budgen – in a cavalcade of emotion and the result is laugh-out-loud fun. Worth a look.
Paul Rodda
When: 9 to 18 May
Where: Marion Cultural Centre
Bookings: galleon.org.au
The Metropolitan Musical Theatre Co. Arts Theatre. 9 May 2019
Long live The Met.
The popularity of Miss Saigon has always been somewhat mystifying since it is musically tough and tedious and the story line of love and loss in war-ravaged 1970s Vietnam is downright heartbreaking.
If there is a secret to its success, The Met tapped right into it with stunning singers, orchestra, costumes and effects.
This is a potent production.
The principal, Kim, the displaced Vietnamese bar girl is played by Filippina songstress Elena Amano who, like a classic operatic diva, brings forth a striking might and beauty of voice along with a daunting vocal range. She carries emotion and character to the fore and the audience swiftly accepts and loves her in the role, just as the director knew they would.
Around her, assembled by director Ben Saunders and his team, is a large and talented cast of impressive singers enhanced by good production values. They give Miss Saigon’s epic songs with their repetitive Claude-Michel Schonberg music a layer of professional sheen which musical director Jillian Gulliver polishes nicely with the 15-piece orchestra.
On first night, there were just a few early sound-balance issues, one with the microphone of Jarred Frost, playing the American Marine Chris Scott. He is a rich tenor and a simpatico actor. Miss Saigon was not the only one who fell in love with him.
And, all around him is a wealth of expert support. Omkar Nagesh is one of those rare performers with “presence”. He moves with exceptional grace and, as The Engineer, he lights up the stage, funny, outlandish, appalling, loving, opportunistic, and utterly focused. It is a great character role and he devours it with relish.
Tom Dubois as the compassionate solider, John, brings the house down with his passionate baritone Bui Doi solo. What a voice. And then there is Jemma McCulloch, as Ellen, the hapless American wife. Her glorious voice has a professional polish matched only by the heart-rending dignity of her characterisation.
There is a strong Asian presence in this production, bringing with it some beautiful moments. Shane Huang plays Thuy, the villager matched from childhood to wed Kim. Huang delivers a performance powered by emotional understanding as he pleads and bullies for his betrothed. Contrastingly and bringing joy and exuberant litheness wherever she goes is Maria Gabriela Maglahus as the vivacious GiGi.
Of course, there has to be a child in this tale of the post-war children of Vietnam and the son born to Kim after her great love affair with GI Scott was well embodied on opening night by little Rafael Blanca.
The ensemble work, both male and female, is strong, with choreography by Selena Britz and there are scenes of vivid colour and movement as well as drama and choral aesthetic. The famous helicopter scene is very cleverly achieved and is met with spontaneous applause by the audience.
Indeed, with not a glimmer of the fiscal freedoms of the Cameron Mackintosh mega-production machine which brought Miss Saigon to the fore as a respected reflection of the political and human miseries of the Vietnam war, The Met has done it proud.
Samela Harris
When: 9 to 18 May
Where: Arts Theatre
Bookings: metmusicals.com.au
Independent Theatre. Goodwood Institute. 3 May 2019
It is live theatre, but it feels like a black and white movie.
So effective, evocative, so noir, noir, noir.
And there, on stage at the Goodwood Institute, in their hats and gabardine raincoats, come the characters of Dashiell Hammett’s 1929 San Francisco world. There stars private eye Sam Spade, old-school gumshoes, gorgeous redheads and nefarious villains. And tales of treachery, deceit, bribery, double-crossing and underworld conspiracy. In this case, it’s all in the quest for the mysterious statue of a black bird.
Rob Croser is an old hand at turning out classy productions with artful Croser/Roach sets and fabulous lighting. In this case, his skilled production values shine forth, most especially in Bob Weatherley’s five-star lighting plot. But there are so many touches: the art deco motif on the apartment door, the stained glass window projections, the double-sided desk which at one moment is a private eye’s office and the next has pivoted into posh governmental decor, the double-sided doors where one sees protagonists waiting in the dark hallways. The scenes change with quiet swishes of well-oiled mobility in the darkness. Since The Maltese Falcon was most famously known as a film, Rob Croser has given his adaptation a filmic pace with many quick scene changes.
The old-school detectives are scruffy and stoic, a lovely partnership of David Roach and John Oster. Oster is a character actor and a half and peoples the stage deliciously in assorted guises. There are some lovely performances. Madeleine Herd, with her lovely voice and long red tresses, gives all the elements of seductive artfulness and cunning as the alluring villainess while Stuart Pearce uses his imposing form and a very distinguished voice to bring into fine life the notorious underworld figure of Casper Gutman. Of strident voice and indeterminate accent is Andre Vafiadis, hamming it up to give the plot its dash of Peter Lorre madness while Will Cox becomes hunched and deeply threatening in the role of the henchman thug, Wilmer. Emma Bleby is downright nice as Spade's downright nice office offsider and Ashley Merriel fills the other female roles in the conspiratorial shadows. Oddly, the costuming for the female characters is somewhere the other side of weird, reflecting no particular period and absolutely no respect for the female form. Memorably awful is the best description. The men, on the other hand, are suave or scruffy and of the period with Patrick Marlin in the lead, slick-haired and handsome albeit gobbling his massive load of dialogue with machine-gun speed. Strangely, his Sam Spade skips the old Humphrey Bogart laid-back sexiness. This Spade feels just a bit psychotic with his abrupt shouting fits and temper tantrums.
One wouldn’t want to be on the wrong side of him.
Samela Harris
When: 26 Apr to 4 May
Where: Goodwood Institute
Bookings: trybooking.com