Rocket Man memories

Your Song (The Little Red Company)

QPAC, Concert Hall

September 30 – October 1

The Little Red Company turns 10 this week and how appropriate it is to mark the occasion with return of one of their fastest selling shows, in one of Australia’s most spectacular concert venues. And the mood is certainly celebratory from the start of “Your Song” as ‘Benny and the Jetts’ leads into introduction of the performers returning from the show’s 2021 season at the Judith Wright Arts Centre, Luke Kennedy, Andy Cook and The Sunshine Club’s dynamic duo Marcus Corowa and Irena Lysiuk.

Along with a world-class band (Mik Easterman on Drums, Michael Manikus on piano, OJ Newcomb on bass and Stephen Ward on guitar), the fabulous foursome reminds us of why the show was the 2021 Matilda Award winner for Best Musical or Cabaret. Far from being a typical tribute show (no-one takes on the role of Elton John) creators Adam Brunes and Naomi Price have crafted a unique verbatim musical theatre experience that merges the music and lyrics of Elton John and Bernie Taupin’s songs with powerful true stories of heartbreak and hope, pain and passion, first loves, final moments and more.

Nuanced original musical arrangements by Maitlohn Drew, Alex Van den Broek and the cast capture not just familiarity of well-known numbers but the emotion at the core of each song in relation to its corresponding story. And the stellar cast of performers are all compelling as they gateway us into the power of Elton John’s music through the eyes of everyday people.

Andy Cook is again a standout. His stage presence is such that eyes are drawn to him throughout. Not only is his spirited energy infectious, but his strong vocals add a resonate depth to all range of numbers. While he enlivens a surprisingly poignant ‘Crocodile Rock’ to a big-voiced, spirited glam-pop celebration of life, music and memory, his astonishing voice also gives us the show’s highlight in an almost a cappella ‘Goodbye Yellow Brick Road’ with the barest of piano accompaniment, enrapturing the Concert Hall audience into mesmeric awe. It is just one of many moving moments evoked through reconsideration of songs’ simple and profound lyrics.

Lysiuk’s ‘Sorry Seems to Be the Hardest Word’ evokes the raw honesty at the heart of a reflection on loneliness and Corowa’s glorious voice layers his numbers with rich emotional texture, with his ‘I Guess That’s Why They Call It the Blues’ serving as another highlight. Meanwhile, Music Supervisor Kennedy shows his versatility through both giving a beautiful rendition of the ballad ‘Daniel’ and uplifting us into the majestic chorus of ‘Tiny Dancer’.

Characteristically for the company’s shows, everyone is given a chance to shine, including, notably, Michael Manikus during the anthemic piano build of ‘I’m Still Standing’. All of Elton John’s well-known hits make appearance, if only in medley as part of the rousing on-your-feet sing-along encore. Even the show’s titular tune is wonderfully presented in a newly-imagined way with Lysiuk’s lean-in to its simple nativity with a surprise to-boyfriend share that is full of nervous, self-conscious energy showing why she was nominated for the Matilda Award for Best Female Actress in a Leading Role for her performance in last year’s debut season of the show.

The all-true, often deeply-personal stories and secrets presented take us through a range of emotions in reminder of the power of music to evoke associated memories… like (for those of us of appropriate vintage) where we were when we heard of Princess Diana’s passing. ‘Candle in the Wind’ not only does this, but with added emphasis in light of recent royal events. And the Concert Hall acoustics ensure that the group’s harmonies are as vivid as ever.

So authentic is the performers’ storytelling, that is easy to forget that these are in most instances not their own stories. And they are so seamlessly curated together with a craftedness characteristic of The Little Red Company works, that the show’s 90-minute duration flies by in an explosive experience of at-once heart, soul and distinctive Rocket Man camp.

Photos c/o – Stephanie Do Rozario

Licenced to thrill again

Skyfall: The Music of James Bond (The Little Red Company)

QPAC, Concert Hall

July 15 – 16

Those who saw Brisbane Festival’s “Skyfall” at the South Bank Piazza in 2021 know how enticing a musical celebration of the music of James Bond can be in The Little Red Company’s capable hands. In return season at QPAC (rescheduled due to flood impacts upon the Concert Hall) “Skyfall: The Music of James Bond” still has a license to thrill, only this time with walls, and amazing acoustics that enriches its sounds from the first introduction of Luke Kennedy in ‘Licenced to Kill’.

Just like its source material films, this is a show that gets bigger and better with every outing, with this season featuring additional numbers and an onstage team of 19 singers, dancers and musicians, including special guest vocalists Rebecca Cassidy and Mat Verevis joining Queensland’s first couple of song Naomi Price and Luke Kennedy.

Cassidy adds some impressive operatic soar to numbers like ‘The World is Not Enough’, the main theme and opening song for the 1999 Bond film of the same name (originally performed by Scottish-American rock band Garbage), which weaves in touches of the James Bond theme at the end of its composition. Verevis, meanwhile, croons away in ‘80s love ballad ‘For Your Eyes Only’ and delivers an exquisite ‘No Time To Die’, giving the dark and moody theme a vocal reverence befitting Daniel Craig’s final outing and 007.

Once again, Kennedy’s share of Sam Smith’s tender ‘Writing’s on the Wall’, is a highlight thanks to its haunting beauty, especially encapsulated in his impressive falsetto. Indeed, Kennedy’s vocal dexterity is on show throughout the evening, including in some impressive note holds.

With guest performers, this season is more concert than cabaret fare, but it is still just as entertaining, in-part due to the hostess-with-the-mostest banter (and solid song performances) from Price, including with drag performer Beverly Kills (recently announced as a contestant of Season Two or RuPaul’s Drag Race Down Under) who assists in share of a memorable ‘Goldfinger’.

With the assistance also of dancers Bridie Anstee and Shani Sweetnam, there is a lot going on, but celebrating the music of James Bond remains central and it is appropriate the band is positioned in raised, tied staging allowing for full viewing opportunities. Thanks to the considered arrangements of Maitlohn Drew and Brydon Stace, all sections of the band are given their moments to shine in punctuation of the vocal performances. Damian Sim’s keys add dynamism to Shirley Bassey’s tribute to the man with the Midas touch, Martha Baartz’s alto saxophone elevates Price’s cheeky ‘Nobody Does It Better’ and Josh Sinclair gives a smooth early trumpet testament to the fight going on and on in “Thunderball”. Mik Easterman, meanwhile, has never been better, delivering an essential accompaniment of Kennedy’s bombastic ‘Live and Let Die’, which electrifies the audience into interval.

Jason Glenwright’s lighting design characters each number with distinction, spotlighting along to the fatal sounds of broken dreams in a red-soaked ‘A View to a Kill’ and sparkling the entire Concert Hall for Price’s spectacular ‘Diamonds are Forever’. And the fashions (Zoe Griffiths, Wil Valor, The Hemmingbird and Urbbana) are again spectacular, especially Price’s glitzy gold tuxedo.

“Skyfall: The Music of James Bond” is full of infectious energy, culminating in its on-your-feet mashup encore tribute. The explosive reimagining of the Bond catalogue, created by Adam Brunes and Naomi Price, is a celebration not just of iconic Bond bangers, but a showcase of some of the city’s best musical talents. Diamonds are forever, but sadly this show is not! Thankfully, hungry-for-more audiences can rejoice in the return of the company’s Matilda Award-winning musical celebration of Elton John’s iconic songbook, “Your Song” for an encore season at QPAC in September.

Photos c/o – Steph Do Rozario

Broadway babies’ brilliance

Defying Gravity

January 8

QPAC, Concert Hall

Internationally acclaimed star of Broadway and London’s West End, Caroline O’Connnor is an Australian musical theatre legend about to tumble outta bed and stumble to the kitchen for the Sydney season of “9 to 5: The Musical”. And her appearance at QPAC’s “Defying Gravity” is certainly cause for celebration. Indeed, her defiant belt of ‘Don’t Rain on My Parade’ represents one of the concert’s most triumphant of many memorable moments. A smorgasbord of showstoppers is on offer throughout, including the show’s titular big “Wicked” number which makes appearance, with Naomi Price and Irena Lysiuk in duet, as opening to Act Two.

Weaving the numbers together are personal and career stories. The dazzling O’Connor, in particular has a wonderful, personable stage presence that eases the audience into her tell of performing in front of Tom Jones and Shirley Bassey, and as an Olivier Award nominee. And the associated numbers that are presented represent a varied mix of musical sensibilities. Act One includes an early detour to France courtesy of the epic “Les Miserables”, including a nimble, rollicking ‘Master of the House’ by Price and then O’Connor which reverberates around the theatre, before segue into a serene ‘Bring Him Home’ from special guest Luke Kennedy, in reminder of Valjean’s anguish while sitting among the barricades. And as Kennedy’s beautiful vocals astonishingly soar but also maintain the song’s delicacy, the audience holds its collective breath.

Irena Lysiuk does an excellent job, stepping in as a late replacement for Amy Lehpamer, sharing highlights of Lehpamer’s career, such as from “Dusty – The Dusty Springfield Musical”. In particular, her simultaneously serene and soulful share of Sara Bareilles ‘She Used to Be Mine’ from “Waitress” is beautifully compelling, doing justice to its emotional content.

The setlist features musical hit after musical hit with one big moment after the next. There are brilliant bangers peppered throughout such as Price’s ‘Don’t Cry For Me Argentina’ which gives swelling vocal gravitas to the iconic “Evita” anthem. And it is marvellous to have Price and Kennedy share the stunning signature love song ‘Falling Softly’ from the gentle folk musical “Once”. Full of understated, unassuming beauty, their duet conveys both strength and fragility at the core of the song’s emotional lyrics and is absolutely stunning in its expose of the vulnerability at the core of opportunity.

Ever the versatile performer, Price also gives us a sassy, attitude-filled ‘Domino’ from the jukebox musical “& Juliet”, featuring the songs of Swedish pop songwriter Max Martin, infectious in its upbeat energy, while her ‘The Winner Takes It All’ transports us beyond the ABBA classic’s usual mournful, broken-hearted melancholy to reorchestration with more percussive force.

Like Lysiuk’s saxed-up “Wouldn’t It Be Loverly” from “My Fair Lady”, O’Connor’s gorgeous ‘Time Heals Everything’ from the little-known “Mack and Mabel” not only illustrates her stunning vocal range, but offers opportunity to showcase the incredible band, conducted by multi-talented musical director James Dobinson, while on piano himself.

“Defying Gravity” is a hugely entertaining concert from three brilliant Broadway babies (and guest), that presents all range of numbers for musical fans, from shows as eclectic as “Chicago” and “Little Shop of Horrors”. Not only are its performers obviously happy to be on stage, but its audience members are clearly rejoicing in the two-hour show’s opportunity to experience their powerful talents.

Photos c/o – Stewart Tyrell, PhotoCo

Let the James begin

Skyfall (The Little Red Company)

South Bank Piazza

September 14 – 18

As soon as its recognisable bah-dup bah-daaaah belts out to signpost the start of The Little Red Company’s blink and you may miss it Brisbane Festival season of “Skyfall”, the audience is ready to let the James begin. Its tag line promise of it being a license to thrill soon rings true too as, taking the concept of cabaret entrances to new heights, Luke Kennedy kicks thing off in full suave spy mode.

Anyone who has experienced a Little Red show knows of the company’s characteristic attention to detail. In this instance, the delivery of that trademark give to audiences of that little bit extra is realised also in Naomi Price’s entrance, which is totally in keeping with the seductive allure at the centre of the Bond film franchise. Indeed, Queensland’s leading couple of song both exude style as they swagger about the stage (and amongst the cabaret seating section of the audience), martinis in hand. And fabulous as Price’s ‘200 metres’ of tulle costume may be, her re-emergence in a golden tux is all sorts of fabulous as she sings of the man with the Midas touch.

Although the couple have only one duet together, their playful, punny banter about Bond Girl names and alike, and interactions with audience members keep things light. For all the opportunities that the South Bank Piazza space provides, however, it also comes with its limitations and its cold and cavernous space is not particularly conducive to the cosy intimacy that cabaret experiences typically provide. Things are shaken up by appearance of guest stars joining for some numbers. Drag act The Slaying Mantis appropriately allows us to feel her presence in the crowd during ‘Goldfinger’ and Lai Utovou oozes silky vocals in his smooth ‘The World is Not Enough’.

Iconic brassy orchestral stabs from an eight-piece horn section give numbers their signature sounds, in work with the company’s usual band quartet of Mik Easterman on drums, Scott French on Bass, Michael Manikus on keys and Jason McGregor on guitars. Kicking off with the spy’s swinging instrumental main signature theme, the band is always on-point, and are appropriately given individual moments to shine, such as Shannon Marshall’s triumphant trumpeting in Kennedy’s ‘Thunderball’ and Jeffrey Reid’s alto saxophone work in Price’s ‘Nobody Does It Better’ power ballad.

The musical highlight happens, however, in a bombastic ‘Live and Let Die’ thanks to Easterman’s dynamic drums, which make it easy to appreciate the song’s honour of, in 1973, being the first Bond song to receive an Oscar nomination for Best Original Song. Indeed, as we experience the epic masterpiece’s build to a fiery explosion of instrumentation, its pulse its infectious.

High energy numbers are tempered with some tender tunes like Sam Smith’s ‘Writing’s on the Wall’, which Kennedy delivers with haunting beauty. The sleek, boldly bare performance conveys a real pathos, especially in his impressive falsetto, that makes it one of the night’s best vocal performances. Price is given many moments to shine, none more so to when we are taken into the conclusion of the 70 minutes show courtesy of its titular tune, which provides a swirling lush and moody reminder of her previous “Rumour Has It” Adele tribute show.

“Skyfall”, which has been created by Adam Brunes and Naomi Price adds to the company’s catalogue of unique music-driven theatrical experiences. It is an energetic celebration of the spy film franchise’s massive music that leaves audience members thoroughly entertained. And its mashup encore tribute leaves us not only wanting more, but also wondering when the company’s ‘Sex Bomb’ show is happening.

Songbook soundtrack

Your Song (The Little Red Company)

Judith Wright Arts Centre

April 22 – May 1

When the little red company opens the world premiere of “Your Song” with the Goodbye Yellow Brick Road numbers, ‘Bennie and the Jets’ and ‘Saturday Night’s Alright (for Fighting)’, the jubilant energy, both on stage and amongst the top-taping, clapping-along audience, has an infectious ‘not wanting to go to work tomorrow’ feel. The lively throwback to rock and roll with an edge of glam is a glitzy rainbow of celebratory colour (helped by Jason Glenwright’s lively lighting design). And it is a standard of excellence is maintained throughout the show’s 90-minute duration.

“Your Song” sees the company of talented singers and musicians tackle Elton John’s biggest hits. However, far from being a typical tribute show (no-one takes on the role of Elton John) creators Adam Brunes and Naomi Price have affectionately woven the music and lyrics created by Elton John and Bernie Taupin around connected, often deeply personal memories and stories shared by people who have been intimately affected by the music. It is a formula that works incredibly well as, in her directorial debut for the company, its artistic director and co-founder Naomi Price, crafts a taut show that encourages the audience to consider the music megastar’s unforgettable global hits anew, with songs being cleverly chosen from the performer’s catalogue to not only illustrate his musical versatility but connect intrinsically to the core, often heartfelt message of the real-life stories.

The incredible cast of Marcus Corowa, Irena Lysiuk, Luke Kennedy and Andy Cook (Corowa and Cook in their Little Red debuts) are superb in their vocals, and also musicianship with Corowa and Lysiuk giving a guitar duet of Elton’s lively and likeable 1976 number with Kiki Dee. Corowa also especially impresses in a soulful ‘I Guess That’s Why They Call It the Blues’, which is layered with melancholic yearning thanks to his richly textured vocals. And Lysiuk’s vocals are as lovely as ever.

Throughout the show, light and shade are factored into the curation not only of the set list but its anthology of stories, which allows for a beautiful rendition of the ballad ‘Daniel’ by Music Supervisor Kennedy and a captivating stripped-back ‘Goodbye Yellow Brick Road’ from Cook. Indeed, this captivating number is one of the show’s highlights, with Cook’s astounding voice creating a mesmeric performance that is worthy of admission alone. Cook is a thoroughly entertaining and energetic performer who not only can make the word shandy sound seductive but execute a full splits drop of which any drag queen would be proud. And his versatility easily takes us from a big-voiced, buoyant tease into the introduction of ‘Crocodile Rock’, complete with La la la la la la audience chorus contribution, through to the heartfelt sentiment of its story’s context.

It is to their credit that all the performers tell the show’s stories so engagingly that it is easy to forget that they are not of their own experiences. Lysiuk, in particular, is a charming storyteller who provides a lot of the show’s humour, including through on-stage synchronised swimming and a most-memorable reveal during ‘Tony Danza’ ‘Tiny Dancer’. And her fabulous energy makes it easy to consider ‘I’m Still Standing’ anew as a feminist anthem (#yeahyeahyeah).

As always musicians Mik Easterman on drum, Michael Manikus on keyboards and OJ Newcomb on bass provide strong support for the vocalists. In particular, Manikus shines in his realisation of the songs of one of the most iconic piano players in modern history, including through his rapid-fire ‘Saturday Night’s Alright (for Fighting)’ and funky ‘Honky Cat’.

Described as ‘the songs you know, the stories you don’t’, “Your Song” represents a clever concept, realised by outstanding performers along with first-rate original arrangements from Maitlohn Drew, Alex Van den Broek and the cast. It is a slick show full of entertaining energy, heart and humour and when the company’s mega-mix encore tradition sees audience members on their feet in elation, it is easy to appreciate the good reasons why this has been the fastest selling show in Little Red history, requiring the scheduling of additional performances. Not only does “Your Song’ remind us of the works of an incredible artist who has soundtracked our lives, but in, in the little red company’s hands, it creates an emotional connection that may catch us aware and linger long afterwards.  

Photos: c/o Steph Do Rozario

Rom-com rejoice

There’s Something About Music (The Little Red Company)

Brisbane Powerhouse, Powerhouse Theatre

February 24 – 27

There’s something about music in movies, especially those songs that have defined iconic romcoms. Luckily for Brisbane audiences, the little red company has crammed their best bits together in “There’s Something About Music”, now showing in second attempt at a season at Brisbane Powerhouse after its inaugural May 2020 outing was COVID cancelled.

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After a pre-show soundtrack teen rom-com tease of the “I Want You to Want Me’ and ‘Semi-Charmed Life’ sort, Naomi Price and Lucy Maunder bust out with ‘Just a Girl’, No Doubt’s first single and “Clueless” classic, wearing plaid ensembles and over-the-knee socks in full visual embodiment of the quintessential ‘90s favourite. It’s an early indication of the attention to detail that typifies the company’s productions and adds additional interest as we realise the deliberate parallels to Price’s later beautiful yellow evening dress and Maunder’s off-the-shoulder red opera gown and white elbow gloves.

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With ‘bend and snap’ snippets within Legally Blonde’s “Perfect Day” feeling-on-top-of-the-world opener and Bridget Jones’s pyjama-clad clasp of a vodka bottle before discovery of its companion Chaka Kahn, there is much to appreciate in the show’s small details as much as its showstopping numbers. Indeed, creators Adam Brunes and Naomi Price have crafted together all the genre’s recognisable tropes in the cleverest of ways, peppered all the while with some self-deprecating humour to keep the audience thoroughly entertained.

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With every song sounding like it could be the finale, there is a high energy throughout as things move from a frenetic ‘One Week’ in which Luke Kennedy and Mat Verevis trumpet the song’s clever wordplay in rapid-fire interplay, through a full company ‘Can’t Take My Eyes Off You” more-than-just-musical tribute to Heath Ledger’s charm in the iconic Shakespeare retelling of “10 Things I Hate About You” towards a lively ‘I Say A Little Prayer’ singalong to rival that in its famous “My Best Friend’s Wedding” scene. Still, as all great shows are, “There’s Something About Music” is curated to include a balance of light and shade in its moods and it is when things change pace that audience members are treated to the most memorable of the night’s musical numbers from the show’s versatile performers.

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Luke Kennedy is effortlessly suave in Harry Connick Jr’s ‘It Had to Be You’, from the finale scene of “When Harry Met Sally”. As captivating as his smooth vocal sophistication is, however, the show’s standout musical moment comes from Verevis’ pitch-perfect delivery of Des’ree’s soulfully sentimental ‘Kissing You’ from the contemporary soundtrack to 1996’s “Romeo + Juliet”. His serene representation of the love theme’s essential emotions both signals his assured vocal maturity and masterfully captures the collective breath of the audience. Not only are the performers ably supported by the onstage band of Mik Easterman (drums), Scott French (guitars), Michael Manikus (keys), Jason McGregor (guitars) and  OJ Newcomb (bass), but the variety of numbers means that the musicians are also given particular moments to shine, such as when Scott French accompanies an appropriately floppy-Hugh-Grant-haired Kennedy in a simple but beautifully melodious ‘She’ themed “Notting Hill” nod.

Jam packed with trips down memory lane, “There’s Something About Music” is filled with witty banter, unrequited love and even a happy-ever-after nuptial, meaning that, like a quality mix tape, the show has something for everyone… not just romantic comedy tragics. The celebration of films that defined the rom-com genre and their soundtracks is full of feel-good fuzzies and infectious energy alike. And thankfully audiences leave from its final Wilson Phillips clap, sing and dance along “Bridesmaids” number knowing they don’t have to hold on too long to see the company’s provocative new production of Elton John’s iconic songbook, “Your Song”, at The Judith Wright Centre in late April.

Photos – c/o Jade Ferguson