Stunning Production of CATS: Not To Be Missed!

Cats The Musical

Cats The Musical Rating

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Andrew Lloyd Webber’s “CATS” is a stunningly colourful and athletic musical that audiences, young and old, thoroughly enjoyed on Sunday evening’s performance.

Upon walking into the theatre, we were greeted by the backdrop of an alley, scattered with fantastical depictions of trash or lost items. Festoon lights were hung around the stage and across one of the bannisters above the audience. Many platforms and footholds were around the stage, which gave the cats many places to enter scenes, hide, and leap from.

While a good portion of the show included basic white wash lighting, flashing lights/strobe, pyrotechnics, and different coloured lighting created the desired effects and were appropriately timed. Costumes and Makeup were stunning and thoughtfully crafted, and I could hardly take my eyes away from the intricate details and grungy aesthetics.

As someone who had not seen CATS in person before, I was unaware of the more interactive aspects of the show. Occasionally, some of the cats would enter the audience via the front two rows. They would play with the strap of someone’s purse, bump paws with audience members or serenade them. It was an interesting way to break the fourth wall and keep people engaged. Those who book their seats close to the stage should be made aware of this ahead of time.

 

 

All dance routines were highly polished and were done to seem effortless. In between routines, each cast member maintained their character by including feline mannerisms in their recline. Dance intervals featuring the White Cat (Claudia Hastings) and Mr Mistoffelees (Tim Haskayne) were especially memorable and very impressive. As well as their poise, apparent professionalism and acrobatics, support from the remainder of the cast really brought each of the performances together seamlessly.

The audience thoroughly enjoyed songs such as “Mr Mistoffelees,” “The Rum Tum Tugger,” “Gus: The Theatre Cat,” “Skimbleshanks, the Railway Cat,” and of course, the much beloved “Memory,” and its reprises. All vocals were fantastic and blended well, with notable mentions to Des Flanagan (Rum Tum Tugger), Jarrod Draper (Munkustrap), Mark Vincent (Old Deuteronomy) and Gabriyel Thomas (Grizabella). It is a highly enjoyable experience to see cast members have fun doing what they do best, committing to their roles in such a way that seems effortless.

From the costumes to the effects, everyone who plays a role in making CATS what it is did a fantastic job, and I highly recommend this production.

To book tickets to Cats The Musical, please visit https://catsthemusical.com.au/.

Photographer: Daniel Boud

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Annie

Annie

Annie Rating

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1

The appropriately cast production of “Annie: The Musical” was a spectacular success last Friday night and was a delight to the audience at QPAC’s Lyrics Theatre. The charming tale of the orphan, Annie, on a mission to find her true family continues to be widely beloved and celebrated in theatres around the world. The same should be said for this particular performance.

From set designs, to costumes to vocal technique, this production was one I find very difficult to fault. The use of colour, space and choreography was seamlessly integrated with professionalism and skill.

I admired the directorial style when it came to blocking, movement and the insistence on highly polished choreography. You can see examples of this in scenes with songs such as “Hard Knock Life,” and “Little Girls,” where such expression is important in identifying the intents and purposes of the characters who are contributing to the scene.

The sets had seamless transitions from scene to scene, with the various choices in lighting allowing for the cast to complete their songs or monologues without interference.

Spotlights and low, white wash lighting were used in scenes that showed the orphanage, the streets of NYC, and the alleyways in which the orphans would play. Warmer lighting was used for more cheerful and uplifting scenes, such as those within the Warbucks mansion or President Roosevelt’s office.

The band were highly polished, accompanying scenes appropriately and with the vigour and skill that the show demanded.

Casting was especially notable and each player was quite admired. From the ensemble to the leading roles, each performer put in their all and had the audience in the palm of their hands. Each scene was highly engaging and enjoyable, capturing the essence of family, honesty and seeking hope when things seem bleak.

 

 

Now for some notable mentions. Anthony Warlow played a highly believable and entertaining role as Oliver Warbucks. He exuded the confidence and humility that the character called for with professionalism and a natural talent to capture the hearts of his audience with his wonderful, versatile voice. His performance was highly enjoyable and quite the privilege.

Debora Krizak was a wonderful Miss Hannigan and was effortlessly entertaining. Her skills in physical comedy and vocal performance create a captivating portrayal of the orphanage manager, making the role more accessible for audiences to engage with, rather than simply being a villain in Annie’s story. Amazing work.

Keanu Gonzalez played a great Rooster Hannigan who exceeded my expectations. His vocals and dancing talents are highly commendable and a joy to watch. Gonzalez makes it seem like he was born for this role; playing the sly, young con man looking to live on “Easy Street,” and making it look fun and far too easy. I look forward to seeing Gonzalez in more productions.

Amanda Lea Lavergne played the marvellous, Grace Farrell who led Annie to the Warbucks mansion. Lavergne effortlessly captured the cheerful and beautiful secretary of Mr Warbucks elegantly and without missing a beat. It was a joy to watch how she portrayed Miss Farrell with her impressive vocal talent and expressive style.

I was excited to see Greg Page return to the stage and was overjoyed to see how he brought such life to his role, President Roosevelt. His smile and enthusiasm were contagious, his charisma, cheerful contributions to scenes, as well as his highly enjoyable vocal performance, were a testament to his experience and love of the craft. Page was a wonderful choice for this role, and I hope to see him succeed in future productions.

Finally, Matilda Casey’s portrayal of the orphan, Annie, was especially uplifting. Her bright and charming voice, along with her professionalism and expanding acting ability showed the audience throughout the show that she was definitely in the right place. Casey gave a marvellous performance and captured the hearts of her audience through Annie’s optimism and cheery disposition. I hope to see her in many more productions and seeing how her skill set grows over time.

Congratulations to all the cast and crew who made this performance of “Annie,” so great. I highly recommend the show and advise viewers to get their tickets ASAP!

To book tickets to Annie, please visit https://anniemusical.com.au/.

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Night of the Living Dead! The Musical! Comedic Camp and Spooky Spoof

Night of the Living Dead! The Musical!

Night of the Living Dead! The Musical! Rating

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3

Adapted from George A. Romero’s seminal 1968 zombie film, Night of the Living Dead! The Musical! is an edgy and unique rock musical from Ghostlight Theatre Co., hilariously following a group clinging to safety – and each other – after a zombie apocalypse. Written and composed by Jodan Wolfe, an acclaimed New York-based creator and performer, the calibre of the material is immediately evident, with clever, catchy and well-crafted musical numbers and polished choreography working seamlessly with a tight, fast-flowing and comical book. EvilCorp Horror Maze provides the perfect, unorthodox venue to this singular and very entertaining show, creating a sense of immersion and slight claustrophobia, that both sets the scene and augments the show’s themes. I can also highly recommend a shot of “Demon Semen” on your way past the bar.

Director Yasmin Elahi is an impressive creative force, delivering bigtime here – with responsibility for direction, set, costumes, lighting, special effects – and everything in between. Excellent use is made of the compact space, creating interesting shapes and well executed scene changes, while sharp timing of lighting queues is also notable. Further, the live band is a wonderful addition, building atmosphere and exuding effortless cool under the helm of Musical Director William Pipe.

The talented young ensemble cast excel in all facets of their performances – singing, dancing, acting – and flesh-eating. All have impressive performance resumes already, with immense promise of more to come. Alexander Graves is well cast, especially as Ben – a ladies’ man with high self-esteem, with the calm confidence and charm to pull it off. As Barbara, Aimee Segal leans into the sixties send-up as well as any, sweetly naïve with just the right amount of extra. Graves and Segal have good chemistry together onstage and bring entertaining range and incongruity to the show – i.e., saccharinely sweet, whilst summoning Satan.

 

 

Erin Lowry is a standout, breezing charismatically through multiple roles with effortless versatility. In turn nasty and nice, Lowry handles her quick costume changes well and gets some of the heartiest laughs on opening night, especially during the News Broadcasts. Patrick ‘Az’ James is similarly eye-catching in his roles, bringing nuanced mannerism and precise delivery. His performance of ‘Dan the Science Man’ is particularly memorable, impeccably timed and rhymed.

Aden Lowry is engagingly likable, offering commanding presence and a knack for accents and impressions. I’m unsure whether Lowry deliberately modelled Harry’s voice off of James Stewart – but the likeness is striking. Meanwhile, Molly Parker’s hard-drinking Helen brings mischief and endearingly inebriated indifference to the plays higher-stakes situations. She really just needs The Juice. Helen feels somehow more modern than the show’s late 1960’s setting, although nothing is lost for this, where strict historical adherence is unrequired, and may even be intentionally ignored.

While the singing was very good overall – especially the group harmonies – there were a couple of audibility issues, flat notes, and moments where vocal levels were drowned out by the band – but these are forgivable opening-night bugbears, which will no doubt be resolved by the next performance. Overall, Night of the Living Dead! The Musical! is an extremely funny and high-standard show, serving comedic camp and spooky spoof, which was voraciously eaten up by an appreciative audience of the undead on opening night.

To book tickets to Night of the Living Dead! The Musical! , please visit https://www.trybooking.com/events/landing/1452872.

Photographer: Alan Burchill

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Parade: The Musical

Parade: The Musical

Parade: The Musical Rating

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3

The Tony Award-winning Parade: The Musical returns to Brisbane at the Ron Hurley Theatre in Seven Hills, recounting the true and tragic story of Leo Frank (Michael Lewis), a Jewish factory manager in Atlanta, Georgia, who was wrongfully accused and convicted of the murder of 13-year-old factory employee Mary Phagan (Mabel Tamone).

The case—and its aftermath—exposed deep-rooted antisemitism, stark regional divisions, and widespread injustice in early 20th-century America. This pivotal moment in U.S. history not only intensified the rift between North and South but also helped fuel the resurgence of the Ku Klux Klan.

Directed by Johnny Peek, this Bump In Productions staging features a cast that seamlessly blends professional and community talent.

Real-life couple Michael and Belinda Lewis lead the production as Leo and Lucille Frank, lending a powerful intimacy to their performances, particularly in the show’s later scenes. Michael gives a deeply sincere portrayal of Leo, the Brooklyn-educated businessman who moved to Georgia after marrying Lucille and took over management of her uncle’s factory. His involvement in the local Jewish community becomes a focal point in the courtroom scene, and his emotional depth in the final act—after conviction and while awaiting sentencing—is both compelling and heart-wrenching.

Belinda Lewis delivers a sublime performance as Lucille. Her disbelief and frustration over the injustice done to her husband drives her to take control (“Do It Alone”) and persuade the Governor to re-open the case (“This Is Not Over Yet”). When Leo is moved to a prison farm, she visits him with a picnic—this tender scene was, for me, the highlight of the show. Their connection during “All the Wasted Time” was palpable, holding the audience in rapt silence.

Jay Monck gives a commanding performance as the ambitious District Attorney Hugh Dorsey, whose political ambitions hinge on a conviction—regardless of the truth.

Mabel Tamone is exceptional as Mary Phagan, imbuing the role with a childlike innocence and warmth. She is perfectly matched by Casey Martin as Frankie Epps (“The Picture Show”), a rising triple-threat performer. Both Tamone and Martin are talents to watch.

The ensemble is strong across the board, with standout moments in group numbers like “There Is a Fountain” and “It Don’t Make Sense.” Matthew McKenzie is magnetic as Jim Conley, especially during the gripping chain gang number, “Feel the Rain Fall.”

Musical Director Michael Keen brings Jason Robert Brown’s score vividly to life with the support of an accomplished live orchestra positioned offstage. Maureen Bowra’s choreography plays to the cast’s strengths, with intricate staging that immerses the audience in key moments.

Overall, Parade is an extraordinary and moving production—not to be missed.

Parade: The Musical runs through 3 August at the Ron Hurley Theatre, 28 Tallowwood St, Seven Hills QLD 4170.

To book tickets to Parade: The Musical, please visit https://www.trybooking.com/events/landing/1360687.

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