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)

Hailing Hedwig

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

QPAC, Concert Hall

July 17

From the lengthy merchandise stand queue and costumed audience members in the eclectic crowd, it was clear even from just experience of the pre-show foyer that we were in for something special at “The Origin of Love – The Songs and Stories of Hedwig”. And in the final show of his debut Australian tour, the Tony Award winning actor/director/writer John Cameron Mitchell did not disappoint, delivering a killer rock concert with stories, built around his own experiences developing (along with Stephen Trask) and then playing the lead role in the glam rock musical “Hedwig and the Angry Inch”.

Long before the rights of transgender people started to become a mainstream issue, the rock-punk musical and then film (which he wrote, directed and starred in) gave the world the titular gender punk character and ‘internationally ignored’ songstress Hedwig. Born Hansel, the transgendered Hedwig is living in communist East Berlin with dreams of escaping over the wall, when she is coerced into a botched gender reassignment operation by her American boyfriend. When the operation goes awry, she is not only left with an ‘angry inch’ but a lot of aggravation as, now living in the US, she tours the country with her rock band, telling her life story and following the former lover and band-mate who stole her songs and has now made it big.

Clearly the influential cult rock musical was not only ahead of its time but has stood the test of time, given that so many audience members were on their feet to hail Mitchell’s entrance on stage ‘whether you like it or not’, adorned with Hedwig wig (designed by Mike Potter) and an impressive costume of wearable art, created by Erik Bergin, which evolves as the performance progresses. From the beginning strains of his ‘The Origin of Love’ opening number, the audience is entranced by his tender voice in what is a gorgeous study derived from Plato’s theory that, having been split in two by vengeful gods, human beings are in constant search of their other halves.

Mitchell has a fine voice that is showcased in the evening’s variety of song types; it is rich and full of feeling, regardless of if he is singing of longing or angst. From a playlist of Hedwig songs with addition of numbers from his forthcoming musical podcast, “Anthem” and sci/fi romantic comedy film “How to Talk to Girls at Parties”, ballads are given a soft touch in contrast to fierce punk numbers. The anthemic ‘Wig in a Box’ not only has audience members joined together in singalong, but results in a mid-show standing ovation. And the rockabilly powerhouse ‘Sugar Daddy’ is almost as deserving as it offers Mitchell opportunity to bounce into audience interaction.

The show may have started late, but it rocked on for longer than the advertised 90 minutes and nobody was complaining. The backing band, led by Andrew Worboys is excellent and special guest artist Amber Martin on vocals, is sensational, especially when given centre stage to share with us a blistering version of ‘Ziggy Stardust’ in contrast to the sensitive ‘Milford Lake’ from the 2003 special Hedwig tribute album, which adds a new layer to Hedwig’s story.

Mitchell is a compelling performer, not just in vocal delivery, but as he meanders the audience in and out of loosely linked stories of the movie and the early days of the then off-Broadway show, including encounters with stars like David Bowie. Although there are touches of political commentary, the show is more about storytelling and Mitchell is clearly a skilled and engaging storyteller, able to whisper the large Concert Hall audience down to virtual silence as shares personal recollections and philosophical reflections alike, explaining the lyric content around Aristophanes and the origin of love myth that is woven throughout the Hedwig story, alongside interjection of local references. He is also clearly quick-witted and very funny, and while he may not have a taste for XXXX, he has a put-upon ocker Aussie accent that is almost as impressive as his Tony awards.

Although accessible to everyone, “The Origin of Love – The Songs and Stories of Hedwig” is an experience best appreciated by the converted who know what to expect in terms of Mitchell’s dynamic and energetic stage presence. It will leave you with a smile on your face, not because it funny (although it is), but because it is so wonderfully joyous, from its collective on-cue lift up of hands during the refrain of ‘Midnight Radio’ to the infectious craziness of Mitchell’s crowd-surfing across a sea of audience love during the on-your-feet show conclusion, the eponymous ‘Angry Inch’ punk rock anthem of defiance and raw energy. Indeed, the free-form party is not only a celebration of queer, punk and theatre, but a brash reminder of the constructive power of anger. And while issues of gender fluidity as focus for political and public conversation in recent history may be front of mind in its 2018 context, ultimately the show, like “Hedwig and the Angry Inch” itself, is about more than this in its salute to self-love and respect.