Yuletide traditions

Spirit of Christmas

QPAC, Concert Hall

December 16 – 17

QPAC’s longest running event “Spirit of Christmas” is one that never disappoints. With musical theatre stars Courtney Monsma and Alex Rathgeber at the helm, there are musical highlights aplenty, however, the most memorable of its aspects is the marvel of the iconic Concert Hall in all of its seasonal glory (and lighting design by Ben Hughes). “Spirit of Christmas” is spectacular in its aesthetic, especially when all of its components come together: the Queensland Symphony Orchestra (under the baton of Musical Director Simon Kenway), the celebrated QPAC Chamber Choir (Choral Director Timothy Sherlock) and Voices of Birralee (Director Jenny Moon), one of Australia’s finest children’s choirs.

The program is one of many highlights. An early goosebumpy one comes courtesy of a triumphant ‘O Come All Ye Faithful’. As the upper voices chorus before being joined by others, the boisterous hymn is elevated by the powerful accompaniment of Emma Hadfield on the venue’s lofty 6500 pipe Klais Grand Organ, and then join in by Voices of Birralee, processing onto the stage from the stalls.

And when the organ is added in support of Rathgeber’s rousing delivery of the hopeful hymn ‘The Holy City’, his resounding vocals really are lifted up to His gates to sing Hosanna in the highest, on a sea of unison voices and orchestration. There is a similarly infectiously-uplifting liturgical sensibility to the jubilant ‘Ding Dong, Merrily on High’ Hosanna in excelsis outset of the QPAC Chamber Choir’s ‘The Glory of Christmas (medley)’.

After a Welcome to Country from guest artist Waveney Yasso, and a lovely ‘Christmas Overture’ from the orchestra, the 2022 program of joyous Christmas songs and carols unfolds with feature of both traditional and more modern ‘Jingle Bell Rock’ type tunes of this most wonderful time of the year.

Beautifully-voiced Queensland Conservatorium musical theatre graduate Jacqui Dwyer gives us a bright ‘O Christmas Tree’ and Monsma brings buoyant vocals to ‘Do You Want to Build a Snowman’, to the joy of younger audience members (along with a concluding confetti drop). And while it might not be the season for snowmen, the QSO again reminds us of what lovely weather it is for a sleigh ride together, especially in its light orchestral piece ‘Sleigh Ride’, which primarily showcases the percussion section, yet is full of spinning cello fun along with its musical depiction of jingling sleigh bells, whip cracks, clip clops and even a whinnying horse.

The strings section is given its own chance to shine in a delicate Ukrainian composition for that section of the orchestra alone. Thought its almost mournful tone, on paper, might appear out of place amongst the more jubilant Christmas numbers, its tranquil take into a special Christmas message works well. The words in question, delivered by The Salvation Army’s Major Scott Allen underscore the sentiment at the core of the show through their reflection about connection, the bonds that unite us and bringing together communities.

“Spirit of Christmas” is a celebration of the many such things that embody the Christmas spirit. The mix of hymns, much loved classics and popular Christmas songs offers both opportunity for celebration of the true meaning of the festive season and appreciation of our stunning orchestra and vocalists in share of beloved holiday favourites.

Understandably, the popular concerts were again officially sold out prior to their performances. The good news, however, is that you can still enjoy the experience, (or relive it again) from the comfort of your home this Christmas Eve. Spirit of Christmas on Digital Stage free live stream is available from 5.00pm to midnight AEST on Saturday 24 December, Christmas Eve for its messages of peace, love and joy to endure that little bit longer.

For full details go to  https://www.qpac.com.au/event/spirit_of_christmas_digital_stage_22

Photos c/o – Darren Thomas

Now we know

Frozen (Disney Theatrical Productions)

QPAC, Lyric Theatre

February 10 – April 24

Adapting work from screen to stage can be tricky, even more so when it is a beloved animated feature. Thankfully, the hit family-friendly Broadway musical “Frozen” rises to this challenge, with lavish production design, stunning costumes and impressive special effects to astound as much as entertain.  

The musical, adapted from the Disney film and Hans Christian Andersen’s original Danish fairy tale “The Snow Queen”, is a spectacle of magic such as one would expect from Disney Theatrical Productions (just think of their other animated musical adaptions, “Aladdin”, “Beauty and the Beast” and “The Lion King”). And now it is Brisbane’s turn to appreciate the freeze, which has meant much-anticipation given the show’s status as one of the most technically advanced productions ever mounted in this country. And the resulting set design, costumes, lighting, and special effects certainly bring fairy-tale magic to life, making it (almost) practically perfect in every way, to re-assign a familiar Disney descriptor.  

For those unfamiliar with the 2013 blockbuster film, the narrative is established swiftly, along with the personalities of its initially youthful princess protagonists, the doting Elsa (Samara Wheeler) and her tornado with pigtails younger sibling Anna (Mila Hourmouzis). When as a young girl, older sister Elsa finds she can make snow in their bedroom and builds a snowman with Anna, her ice magic harms her sister. Though Anna is healed by the mysterious Hidden Folk, Elsa’s magic remains, isolating her from her sister as they grow into adulthood. When Elsa (Jemma Rix) comes of age and is crowned queen, her magical powers unintentionally thrust the kingdom of Arendelle into an eternal winter. Her resulting flee causes her effervescent younger sister, Anna (Courtney Monsma) to embark on a journey in search of Elsa and to save Arendelle.

While Elsa might have the biggest musical moments, in many ways “Frozen” is Anna’s show, especially in Monsma’s capable hands. She is a vivacious performer with a finely-honed sense of comic timing who brings a perky charm to the role. Indeed, her every moment on stage is filled with an infectious enthusiasm that only endears the production that little bit more. She leads ‘For the First Time in Forever’, with bright vocals that cement the optimistic charm that has made it a fan favourite number, encapsulating Anna’s excitement at the long-awaited opening of the castle’s gates.  

Monsma’s early number with handsome Prince Hans (Thomas McGuane), ‘Love is an Open Door’, is refreshing in its goofy fun more than sickly sweet declaration of devotion to finishing each other’s sandwiches. And her ‘What Do You Know About Love?’ duet with earnest, rough-around-the-edges ice-seller Kristoff (Sean Sinclair) of the Hidden Folk is a charming warm into the burgeoning trust as they bicker on an ice-bridge while searching for Elsa.

Christopher Oram’s costume design elevates things from the outset with muted early tones transforming into regal shades, opulent fabrics and detailed adornments befitting a coronation. But the pièce de résistance comes in Act One’s stunning closer, courtesy of Elsa’s shimmering ice dress of 14 000 beads and crystals. And the fact that it is revealed along with her signature blonde plait as part of the character’s physical transformation, only adds to the impact of its wonder.

Elsa’s change into an ice queen comes as part of the Oscar-award-winning ‘Let it Go’ which did much to popularise the film as a cultural phenomenon. The adrenalin-filled anthem of liberation is certainly a show-stopper in its provision of magical moments, both though its central costume change in coincide with the song’s musical high point, but also through Elsa’s creation of a cinematically sparkling ice palace high in the mountains from its initially neutral staging, leading to mid-song applause and gasps from young and older audience members alike. Rix’s richly emotive voice gives the exiled Elisa a balance of strength and vulnerability in the soaring power ballad’s reconcile of having others now know about the powers she has tried so long to conceal. Like the similarly-placed ‘Defying Gravity’ in “Wicked”, its experience is the stuff of goosebumps, worth the price of admission alone.

Mid-scene applause occurs often during the opening night show, including when Elsa’s icy supernatural powers freeze the woodwork of the proscenium staging in perfect unison with the music and the effects of Natasha Katz’s lighting design, and again when special effects freeze a group of on-stage characters to ice. There is incredible detail in all the set pieces of Oram’s scenic design. Textured staging layers the marvel to create a vivid sense of place within the magical land of Arendelle, whether it be a fairy-tale medieval Scandinavian castle or an artic wilderness beneath the Northern lights. Scenes transition seamlessly, such as when the snow and ice scape transforms as if in an instant, to reveal a sunny summer scene as illustration of Olaf’s hilarious snowman tune about his big dreams of relaxing in the summer sun.

Disney’s signature puppet characters make some memorable appearances. Lochie McIntryre’s reindeer Sven (in a role alternated with Jonathan Macmillan to reduce the physical strain on the performers) is impressive not only in physicality, but reveal of the pet’s personality in speechless interaction with the somewhat shy Kristoff. And younger audience members in particular are delighted by appearance of snowman Olaf (Matt Lee puppeteering the cheeky manifestation of the now-estranged sisters’ childhood imagination).

The stage production features a full score by Kristen Anderson-Lopez and Robert Lopez, including 12 new specially-written songs from the original Academy Award-winning songwriters. While some serve more to flesh out the running time than progress the narrative, they still contribute to the spectacle of the experience. Act Two’s pantomime-esque opener, ‘Hygge’, for example, in which the owner of Oaken’s Trading Post and Sauna introduces the Nordic notion to Kristoff and Anna, presents a line of towel-clad villagers dancing their way out of a sauna, in jubilant illustration of Rob Ashford’s diverse choreography, which also includes graceful waltzes and ballet along with a joyous ensemble maypole dace.

‘Hans of the Southern Isles’, serves as a solid introduction to the slick man of Anna’s dreams, when they first meet shortly before her sister’s coronation, building and growing in stature with its reprise. However, it is Act Two’s anguished solo ‘Monster’ that serves as the second showstopper. Rix’s soprano vocals are stunning, elevating Elsa’s dark, introspective contemplation of who she really is to a complex exploration of her inner conflict.

With a score featuring both much-loved “Frozen” classics alongside its new songs and an acclaimed cast, this record-breaking musical is sure to captivate audience members of all ages. The stunning musical extravaganza is an entertaining visual feast, full of Disney magic. And while it does feature fairy-tale-esque true love within its themes, at its true heart is its focus on the sisterly bond between Elsa and Anna. The fact that as female protagonists they maintain their agency and do not have to depend of the protection of male saviours is, of course, all the better.

Photos c/o – Lisa Tomasetti