and that’s a 2018 wrap

A quick pre-Christmas trip to Melbourne this week has not only give me my favourite theatre experience of the year in Calamity Jane, but provided a chance to reflect on a theatre year now done. Although still in the triple digits, I saw fewer shows in 2018 than in previous years, because…. Netflix. And, as usual, there have been many highlights, making it difficult to providing a definitive list of favourites. But reflective lists are what the end of a year is all about, so here is my eclectic top 10 of the memorable, the musical, the moving and the mirthful, and some honourable mentions.

1. Calamity Jane – Encore Season (Arts Centre Melbourne in association with One Eyed Man Productions, Neglected Musicals and Hayes Theatre Co)
2. Hamnet (Dead Centre) as part of Brisbane Festival
3. Good Muslim Boy (Queensland Theatre and Malthouse Theatre)
4. Everyday Requiem (Expressions Dance Company)
5. Beautiful: The Carole King Musical (Michael Cassel in Association with Paul Blake & Song/ATV Music Publishing & Mike Bosner)
6. The Curious Incident of the Dog in the Night-Time (The National Theatre)
7. The Origin of Love – The Songs and Stories of Hedwig (John Cameron Mitchell)
8. Home (Geoff Sobelle/Beth Morrison Projects) as part of Brisbane Festival
9. At Last: The Etta James Story (Brisbane Powerhouse)
10. The Sound of a Finished Kiss (Now Look Here and Electric Moon in partnership with Brisbane Powerhouse)

And mention also to the following highlights:

Best performance:

• Virgina Gay as the titular feisty frontierswoman in Calamity Jane
• Paul Capsis as 1970s gay icon, English writer, raconteur and actor Quentin Crisp in Resident Alien at the Brisbane Powerhouse as part of the 2018 Melt Festival of Queer Arts and Culture.

Best AV – A Christmas Carol (optikal bloc for shake & stir theatre co)

Most thought provoking –- Home (Geoff Sobelle/Beth Morrison Projects)

Best new work – The Sound of a Finished Kiss (Now Look Here and Electric Moon in partnership with Brisbane Powerhouse)

Best musical

• Beautiful: The Carole King Musical (Michael Cassel in Association with Paul Blake & Song/ATV Music Publishing & Mike Bosner)
• Big Fish – The Musical (Phoenix Ensemble)
• Bare (Understudy Productions)

Best cabaret:

• At Last: The Etta James Story (Brisbane Powerhouse)
• Coupling (Brisbane Powerhouse)
• Christmas Actually (the little red company)

Best music – The Origin of Love – The Songs and Stories of Hedwig (John Cameron Mitchell)

Best dance – Everyday Requiem (Expressions Dance Company)

Funniest – Rosencrantz & Guildenstern Are Dead (Queensland Shakespeare Ensemble)

Most joyous – I’ve Been Meaning to Ask You (The Good Room)

Cleverest – North by Northwest (QPAC and Kay & McLean Productions)

Most moving – Hamnet (Dead Centre)

Love songs reclaimed

Coupling

Brisbane Powerhouse, Powerhouse Theatre

May 19

The number 13 may have unlucky connotations for some, but for Camerata – Queensland’s Chamber Orchestra, it offers only excellence as 13 of its musicians begin “Coupling” with string sounds of what is revealed to be ‘Believe’ from the messiah herself, Cher. The show/queer love mix tape which features at the Brisbane Powerhouse as part of the 2018 Melt Festival of Queer Arts and Culture, is a musical collaboration of the most entertaining sort as it reclaims great love duets of the ‘70s, ‘80s and ‘90s for same sex couples.

Thanks to Trevor Jones’ impressive arrangements, the show offers exciting new takes on old favourites. With such an extensive repertoire from which to draw, the playlist covers a range of emotions and various stages of relationships, from Kylie and Jason’s much-loved number-one ‘Especially for You’ and Elton John and Kiki Dee’s Mowtownish ‘Don’t Go Breaking My Heart’ to Barbara Streisand and Neil Diamond’s ‘You Don’t Bring Me Flowers’ lament of heartbroken lovers who have drifted apart and Phil Collins and Marilyn Martin’s ‘Separate Lives’. Ultimately, however, there is a huge rejoice in love at the organising centre of both its songbook and life’s experience alike.

Not all songs are the perhaps expected sweet ditties or yearning ballads. In amongst the smooth grooves and sexy beats, is a rousing ‘(I’ve Had) The Time of My Life”, theme song to the greatest of guilty secret favourite films “Dirty Dancing”.  And special guest vocalists Sean Andrews, David Ouch, Luke Hodgson, Greg Moore, Monique Dawes, Emily Gilhome, Jessica Mahony and Ellen Reed all do much to make each number distinctive from its source material, beyond just their reappropriation as same sex couple duets. David Ouch makes ‘Sisters Are Doin’ It for Themselves’ particularly provocative, and entertaining, and Greg Moore gives audiences an early highlight courtesy of a raunchy ‘Islands in the Stream’. There is comedy too, for example in an epic love duet sing off melody featuring, amongst others, a ‘Beauty and the Beast’ vs “Home and Away” theme battle.

As is always the case with Camerata, the music is both beautiful and flawless. Striking string sounds soar songs like ‘Don’t You Want Me’ and ‘Leather and Lace’. Indeed, one of the most marvellous things about Jones’ arrangements is the opportunity they provide for the Camerata musicians to display their skills, not just in complement to the vocalists, but in showcase instrumental sections. Vocal performances are strong from the start. Ellen Reed is a particular standout throughout, in songs from ‘Suddenly’ to ‘You’re the One that I Want’. And in unite, the eight vocalists work wonderfully together in reminder that love can withstand the struggles of a relationship and make it stronger ‘Up Where We Belong’.

“Coupling” is a celebration of so many things: songs, music, love and vocal talent. In its journey through showcase of all of these aspects, it may take audience members to some unexpected places, such as the “Family Ties” theme song, but this just makes for an all-the-more-fun ride. With clap and sing-along opportunities galore, there is certainly a mood of celebration, with smitten audiences clearly wanting for more at the end of its 70-minute duration. “Coupling” may be like a daggy mix tape, but it is compilation crafted with nothing but love, and it serves as a real highlight of this year’s Melt festival. By simultaneously celebrating music nostalgia and giving the associated sentimentality new scope, it speaks musically and lyrically to audience members of all persuasions and preferences, musical or otherwise, making everyone believe in life not only after, but before and during love.