Deck the stalls

The festive season always means a theatre pause and reflection as to the year’s greatest applause. A Broadway break enabled experience of my new favourite thing in Dear Evan Hansen, which is now up there with Rent as my musical mecca, along with other 2019 faves Hamilton and Mean Girls. Closer to home, however, amongst the usual 100+ shows seen, there are a number of memorable mentions.

Most Entertaining

• The Gospel According to Paul in which Jonathan Biggins brilliantly portrays the love-him-or-hate-him Paul Keating.
• 100 Years of the History of Dance (as Told by One Man in 60 Minutes with an Energetic Group Finale), another solo show, this time from Australian director, choreographer and performer Joseph Simons.

Best musical:

• Sweet Charity – the perfect start of year show from Understudy Productions, the little Brisbane theatre company that has very quickly become a very big deal.
• the ridiculously funny Young Frankenstein, Phoenix Ensemble’s stage version of Mel Brooks’ 1974 horror-movie spoof and parody of both the musical genre and vaudevillian traditions.
• The Book of Mormon– the ridiculously still so-wrong-it’s-right musical is still the funniest thing around, even in repeat experience.

Best musical performance:

• Naomi Price as the titular Charity Hope Valentine in Sweet Charity, a role that appears as if written for her.

Best dance

• Queensland Ballet’s The Nutcracker – the most wonderful ‘tis the season treat around.

Best cabaret

• little red theatre company’s  From Johnny to Jack – Luke Kennedy’s chart of the greatest comeback in Australian rock and roll history… an energetic, feel-good, heart-warming celebration of all things John Farnham.

Best independent theatre

• Ghosts – The Curator’s homage to great Norwegian playwright Henrick Ibsen’s controversial play was innovative in its layers of scathing social commentary.

Best comic performance

• As Rooster in Queensland Musical Theatre’s Annie, Darcy Rhodes gave a standout razzle dazzle expressively larger-than-life performance.
• As a duo of Environment Minster and press advisor, Jessica Veurman and Charleen Marsters made for an ‘absolutely fabulous’ comic team in That Production Company’s Kill Climate Deniers.

Best dramatic performance:

• Patrick Shearer for his powerful and precise performance as the bohemian artist son Oswald in Ghosts.

Most moving

• Love Letters – the heart-warming story of two people who share a lifetime of experiences through the medium of handwritten letters, presented at Brisbane Arts Theatre by real-life married couple Ray and Melissa Swenson.

Best AV

• Project Design Justin Harrison’s dynamic projection designs represented a key component of Kill Climate Deniers’ vibrant realisation.

Best new work

• The relatable guilty pleasure of FANGIRLS – like a witty young adult novel set to music and full of glittery fun, complete with important messages.

Favourite festival show

• James Rowland’s Brisbane Festival show Team Viking (and its Songs of Friendship trilogy counterparts) ‘a revelatory storytelling cycle about love, life, friendship and death that serves as an accomplished piece of storytelling.

Notable mention to:

• Rocket Boy Ensemble’s Reagan Kelly for its killer opening monologue chronicle of night out in the valley
• Melbourne’s Harry Potter and the Cursed Child for its incredible stagecraft of illusions and magic beyond just that of the expelliarmus sort.

Sweet dreams are made of this

Sweet Charity (Understudy Productions)

Brisbane Powerhouse, Visy Theatre

January 24 – February 10

With music by Cy Coleman, lyrics by Dorothy Fields, book by Neil Simon and choreography from Bob Fosse, “Sweet Charity” is, understandably one of the greatest of Broadway musicals. Yet, far from being a big, razzmatazz affair, it is essentially a simple and tender story, which makes it an ideal fit for Brisbane Powerhouse’s intimate Visy Theatre. Actually, perfection is also a far-from-hyperbolic descriptor of the show by Understudy Productions, the little Brisbane theatre company that has very quickly become a very big deal.

Charity Hope Valentine (Naomi Price) is a girl who dreams of being loved, despite the continuous misfortune of relationships handed to her by ‘the fickle finger of fate’. One day after work as a dance hall hostess at New York’s Fandango club, she, by chance, meets the film star idol Vittoria Vidal (Andy Cook) and is bewitched by his charm and riches, until his lover Ursula (Lizzie Moore) returns into his world. With hope that her life is changing for the better, Charity seeks out some cultural enlightenment, however, gets stuck in a broken elevator with shy, claustrophobic tax accountant Oscar Lindquist (Stephen Hirst). Romance is sparked, despite her worry that he will not approve of her career choices and she lives… hopefully … ever after.

Often I find myself judging a show by how long in it is before I find myself glancing at the time. With “Sweet Charity”, however, I found myself so caught up in its all-round entertainment that the only distraction of which I was aware was the face-ache caused by the smile and laughter that it induced. Unlike many perhaps, I knew little of the musical beyond recognition of its big-ticket number ‘Big Spender’. Rather than being performed by Charity herself, however, this is a sensual ensemble number by her fellow hostess dancers in proposition of the audience. Instead, her turn with a familiar tune comes courtesy of the energetic ‘If My Friends Could See Me Now’, in which she reflects on her marvellous luck as she spends time with Vittorio. The scene that finds her hidden away in a closet of his luxury apartment while he reconciles with his glamorous girlfriend is a hilarious showcase of Price’s impeccable comic timing, exact exaggerated facial expressions and spot-on awkward movement.

The role of Charity Hope Valentine appears as if was written for Price and in conjunction with its comedy, she easily conveys the character’s enduring innocence and irrepressible optimism with a warmth that makes her immediately endearing to the audience. She also plays the poignancy of its final, vulnerable scenes with emotional sincerity. Price is vocally versatile too and always on-point, whether in the introspective reflection of ‘Where Am I Going?’ or the lively elation of ‘I’m a Brass Band’. And by the standing ovations offered, it appears that I am not alone in thinking so.

Opening Night was a sold out show and I imagine the season will shortly follow suit. Things are busy on stage also, thanks to the production’s large cast, however, the stage never feels overcrowded, even in the ensemble numbers, in which movement generally appears effortless. Clever choreography (Dan Venz) provides an added element to the entertainment with nod to its era and also the precise and provocative Fosse style of snaps, swivels, thrusts and glamourous gestures, but also a modern touch. The brilliant ‘Rich Man’s Frug’ dance routine is a Fosse and Fellini (the musical is based on the Italian director’s film “Nights of Cabiria”) infused imagining that is worth the price of admission alone. It also highlights the vibrant musical arrangements (Musical Director Shanon D Whitelock) that characterise the production’s slick realisation of the musical’s jazzy score and swing from song to song. And it is difficult not to be enticed when the ensemble moves into the audience such as in Act Two’s knockout gospel-like number, ‘Rhythm of Life’, in which Charity and Oscar spend a date at a church run by a group of hippies. Although the number doesn’t have any real connection to the central story, its comprehensive scale and slick execution mean that this hardly matters.

The success of Understudy Productions’ “Sweet Charity” is that it simultaneously works on every level and in every way, however, it could not succeed without a strong personality in the lead role which demands someone who can act, sing and dance in equal measure. And in this regard, the company could hardly have made a better choice than Naomi Price. While she sparkles, however, it is not at expense of the strong supporting cast. The main players, especially, all convey a strong stage presence. Andy Cook is deliciously over-the-top as lothario movie star Vittorio, especially when his mannerisms are even more heightened in interaction with demanding girlfriend Ursula (an appropriately melodramatic Lizzie Moore, who also impresses as Charity’s frank and streetwise colleague and friend Nickie). In a contrast to his recent roles, Stephen Hirst plays Oscar with warmth and sweetness that makes you genuinely want things to work out for them, right from their beautifully played first meeting. And Elliot Baker is magnetic as the mysterious Daddy Brubeck, cool and funky guru leader of the Rhythm for Life Church.

Like the character of Charity herself (I’m not sure if I want to be her or be friends with her), this production is utterly charming. By focusing on Charity’s optimistic and hopeful nature, co-directors Kris Stewart and Maureen Bowra have crafted an appealing story of a confident, quirky and determined young woman. Like her, the show doesn’t take itself too seriously which is the essence of its joy, with both hilarious situations and little unexpected comic touches that only make its experience more endearing. Indeed, the effervescent production bursts onto the stage with a vitality and contemporary energy and perspective that means that the now dated pre-feminist text can still entertain as escapism.

Heralding the Helpmanns

Helpmann Awards Nominations Announcement

The Playhouse, QPAC

July 14

Independent theatre and Indigenous stories have important roles to play in Australian theatre. This was one of the messages to be taken from this year’s Helpmann Awards nominations announcement.

Since their establishment in 2001, The Helpmann Awards, named in honour of Australian dancer, actor, director and choreographer Sir Robert Helpmann, have aimed to recognise, celebrate and promote Australia’s live performance industry, similar to the Tony Awards on Broadway and the Olivier Awards in London.

Nominations for the awards in the fields of theatre, musical theatre, opera, music and dance were announced at simultaneous events in Sydney, Melbourne, Brisbane, Adelaide, Hobart and Perth. The Brisbane nomination event was hosted by internationally acclaimed, Queensland Ballet’s Artist Director, Li Cunxin, with local theatre figures Nellie Lee (shake & stir theatre company), Kris Stewart (Brisbane Powerhouse), Russell Mitchell (Opera Queensland) and Erica Hart (Queensland Music Festival) assisting in announcing the nominations within the 41 award categories.

With such a plentiful and diverse theatrical landscape from which to garnish nominations, it is of little surprise, perhaps, that the final nominee lists came from more than 700 nominees. And while the final list was predominantly in favour of New South Wales based shows (Opera Australia and Sydney Theatre Company dominate in the opera and play categories), there were opportunities for cheerful celebration of Queensland’s representation among the accolades.

Expressions Dance Company’s beautiful and poetic work, “When Time Stops”, whose world premiere featured as part of 2013’s Brisbane Festival, featured in two categories, Best Choreography in a Dance or Physical Theatre Production for Natalie Weir and Best Original Score for Iain Grandage.

The local accolades also include nomination of Ursula Yovich as Best Female Actor in a Play for her role as the titular character in 2013’s Queensland Theatre Company production of “Mother Courage”, which continued the political commentary theme of Brecht’s original text by examining the moral ambiguity around mining.

There were also nods given to shows seen on or forthcoming to Brisbane’s stages. Among the 11 Indigenous nominations across nine categories is the Queensland Theatre Company and Sydney Festival Production “Black Diggers”, which explores the untold and exceptional stories of Indigenous Australian soldiers who fought for the British Commonwealth. The Best New Australian Work nominee is set to not only feature as one of this year’s Brisbane Festival highlights, but will be broadcast live to nine major regional centres across Queensland in a state-wide first.

Malthouse Theatre’s “The Shadow King”, which will also feature at this year’s Brisbane Festival, is also represented, with nominations in four categories, Best Play, Best New Australian Work, Best Director of a Play (Michael Kantor) and Best Male Actor in a Supporting Role in a Play (Jimi Bani). The epic play, which reworks Shakespeare’s tragedy, King, Lear, in an Indigenous setting, incorporating a number of Indigenous languages is set to be an unmissable theatrical event.

Also featuring at the 2014 Brisbane Festival will be Best Cabaret Performer nominee Sarah Ward (for Between The Cracks) as her fabulous character creation Yana Alana. Last seen early this year at WTF’s “지하 Underground” Up Late, this much loved cabaret provocateur will feature in the intimate “Tears Before Bedtime”, in the September festival.

The star of the night, however, had to be Hayes Theatre’s first production, the musical “Sweet Charity”, which scored a total of eight nominations, one more than its high profile Sydney counterpart, “Strictly Ballroom the Musical”. This is particularly significant given that the new, intimate not-for-profit Potts Point Theatre (named after Australian musical theatre legend, Nancye Hayes) has at its focus, the provision of a permanent home for small-scale, independent musical theatre and cabaret.  

For a nation with a relatively young theatre history, our artistic achievements fare well across the many genres of our vibrant and dynamic performing arts industry. However, we cannot afford to take this for granted or slip into complacency. And as long as we have new work and independent shows of the calibre of those nominated at the 2014 Helpmann Awards, then the future is looking exciting indeed.

After five years at the Sydney Opera House, this year’s Helpmann Awards will be staged at the Capitol Theatre on August 18, where they will be hosted by Jonathan Biggins (author of this year’s QTC opening work, Australia Day). The ceremony will take place on the set of “The Lion King” and will feature musical performances from “The Lion King”, “Les Misérables”, “Strictly Ballroom” and “Djuki Mala” (Chooky Dancers). As in previous years, Foxtel’s Arena channel will officially broadcast the Awards night in August.

*A reflection of this event also appears on the XS Entertainment website.