Gutenberg? Darn Tootin-berg!

Gutenberg! The Musical!

Gutenberg! The Musical! Rating

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The latest effort from Second Beat Productions, Gutenberg! The Musical! is a side-splitting spoof, following Bud Davenport and Doug Simon, authors of a wildly inaccurate and off-beat musical about printing press inventor Johannes Gutenberg, who are auditioning their work to potential Broadway producers – with delirious overconfidence. The actors boast that chances are if you don’t know the person sitting next to you in the audience, they in fact are a producer; Since details around Gutenberg’s life are scant – at least based off the most cursory Google search Bud and Doug did – we are told the musical is historical fiction, which is, apparently, fiction that’s true. This intentional ineptitude and naiveite sets the tone for the entire show, a rib-tickling tour de force from the creators of Beetlejuice: The Musical.

The plot follows Gutenberg, a wine presser, intent on enlightening the illiterate townsfolk of medieval German town Schlimmer, culminating in his invention of the printing press, despite the nefarious efforts on an evil Monk, who seeks the destroy the press, and keep the town in figurative darkness. Described as a reading of a musical, with no set or costumes, and just a few props – Bud and Doug play all the parts themselves, with the help of hats labelled with character’s names – making the chorus line particularly comical. Gutenberg! The Musical! has no pretensions, and it is soon evident that what Bud and Doug lack in expertise and conventional talent, they make up for with relentless enthusiasm and optimism. This script itself bursts with silly asides and flippant dark humour, subverting expectations throughout for the funniest evening at the theatre I’ve enjoyed this year.

 

 

The night I attend, Bud is played by Liam J.K, who co-directs the play with Daniel Kirby, with Kirby playing the role of Doug. They are capably accompanied by Rae Rose on keys, who is also credited as Music Director. J.K and Kirby throw themselves into their work with gusto, bringing the perfect balance of charisma and chaos, each literally wearing a multitude of hats, navigating the shifts between multiple characters with madcap mastery and natural comedic credibility, their timing and interplay with each other top-notch, regardless of which character they are portraying at a given moment.

Overall, it is remarkable the substantial impact a small team with a clever script can deliver – without any major production features or other artifice. Gutenberg! is an amusing look behind the curtain, and an eminently enjoyable antithesis to other more polished and produced shows. Highly recommended.

To book tickets to Gutenberg! The Musical!, please visit https://piptheatre.org/gutenberg-the-musical/.

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The Lightning Thief – The Percy Jackson Musical

The Lightning Thief

The Lightning Thief Rating

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23

Though we are sadly seeing multiple professional city shows close early in Melbourne in the current economic climate, Community Theatre in Cranbourne right now is absolutely thriving!

A fantastic cast of young people have just opened “The Lightning Thief” The Percy Jackson Musical, produced by Peoples Playhouse, and it’s a massive hit!

I knew absolutely nothing about this show prior to going on the sold out opening night and only learned this is also a series of very popular books from the friend I took along, who hadn’t seen the actual show either and equally enjoyed it. As “theatre mums” we love love love to sit back and feast on a bright new energy level. This show is full of action from the get go and it never ceases to amaze me what storytellers can weave in their imaginations.

A plot of wayward demigod teenager, Percy Jackson, the son of Ancient Greek God Poseidon, finding his purpose via a quest with other children of Gods to discover his father’s reason for not being present in Percy’s life is also a journey of bravery and self discovery. This musical, loaded with both catchy dance tunes and meaningful lyric songs, has everything in it to pack a punch with a young audience especially; the cheers didn’t stop from start to finish.

Playing ‘Percy’ is Isaac Lane from Nida Open in a huge role he handled like a pro, accompanied by Olivia Woodhouse, growing up in ballet and then discovering her love for musical theatre, she is a super strong ‘Annabeth’, and Jack Thompson studying full time at Showfit, is a true champion player in his role as Percy’s best friend ‘Grover’.

 

 

The flashbacks of the three mains as their younger selves by 11year old Jasper Sage, 11year old Ayda Melody Hendricks and 12year old Matthew Theoclitou were all well played with a lot of emotion from these experienced theatre youngsters.

The use of spotlights in this show is very effective; something I constantly noticed as enhancing what was happening on stage and there’s a LOT happening! Demon teachers, cute squirrels, frozen statues and very inventive props including the funniest tractor scene, you won’t ever guess what’s coming up next.

All the cast work exceptionally well together in the little details and the choreography is fun and energetic with some cleverly rehearsed fights and battles. Great job everyone, you were so fun to watch.

It’s always interesting to observe the versatility of cast members you’ve seen before in other shows and I was pleased to see Matthew Berend step out on stage tonight as ‘Mr.Brunner’ (aka Chiron & Ares) with his usual larger than life personality and in this show, half horse body 🙂

Christine Ferra was wonderful as Percy’s mum ‘Sally’ with such warmth in one of my favourite songs ‘Strong’ sung with Percy. Parent / Child moments in any show always get me.

A confident Alex Sabljak rocked as ‘Luke’ and Lucas Battey as ‘Mr.D’ (aka Dionysus & Hades) convincing in every role, as were Tyrah Pocock-Davies as Clarisse, Michaela Fitzpatrick as Charon, Jeanne Carlos as Medusa, Lore Burns as Poseidon and Penny Norris as The Oracle was superb.

A highly talented bunch of young ensemble members completed this show perfectly and we couldn’t have enjoyed it more!

Congratulations to Sarah Jeffs (Director), Drew Lane (Musical Director) and Sarah Hayes (Choreographer), what a triple threat trio you make!

You must all be so proud, congrats to EVERYONE, including those amazing set builders, costume gurus and organising / creative teams behind the scenes with Production Managers David Krause and Heather Rose and Peoples Playhouse President Michelle Thomas. Bravo!!!

Ticket link:
https://www.trybooking.com/events/landing/1570412

More info:
https://www.peoplesplayhouse.com

To book tickets to The Lightning Thief, please visit https://www.peoplesplayhouse.com/whats-on.

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Theatrical Inc’s Bring It On The Musical To Open At The National Theatre In July!

Feature-Bring It On The Musical

Bring It On The Musical has firmly established itself as a contemporary classic since its premiere in 2011. In July, Melbourne’s beloved independent theatre group, Theatrical Inc will bring Bring It On’s renowned athleticism and high energy to The National Theatre in St Kilda from July 11th to July 26th.

Based on the beloved hit film franchise, Bring it On this award-winning musical follows the journey of Cameron, champion teen cheerleader Campbell, who finds herself at a crossroads when she is redistricted from her affluent high school to the rival high school, Jackson High. In a bid for victory, she joins forces with their fearless dance crew to compete against her old squad at the Cheerleading Nationals. The clever story highlights the clash between these two social worlds, bringing to the stage diverse perspectives that brought depth and comedy to the universal high school experience well ahead of its time in the early 2000s.

Boasting a prestigious creative lineage of Broadway’s finest, the show features a high-energy score collaboration between Lin-Manuel Miranda (Hamilton, In The Heights) and Pulitzer Prize-winning composer Tom Kitt (American Idiot, Jagged Little Pill) – and a witty book by Tony Award winner Jeff Whitty (Avenue Q). This powerhouse creative team led the original Broadway production to earn 2013 Tony Award nominations for both Best Musical and Best Choreography.

Director Tahra Cannon said, “We’re incredibly excited by the progress of Bring It On: The Musical. Every rehearsal continues to showcase the exceptional talent, dedication and versatility within this cast. The energy, athleticism and commitment these performers bring to the production is truly impressive, and it’s been exciting to watch the show grow week by week. Audiences can expect a vibrant, high-energy production filled with outstanding performances and plenty of heart.”

Bring It On The Musical continues the film’s legacy, centering on the idea that genuine friendship and personal identity are more significant than winning championships and navigating high school social order. The story celebrates its diverse teen characters, including Broadway’s first openly transgender high school character, as they learn to embrace their authentic selves, reject cliques, and value integrity and teamwork – over prioritizing oneself over others.

Choreographer Louise Panagiotidis said, “It’s been so exciting to watch the choreography come to life in Bring It On rehearsals. We have such a talented cast who are bringing so much passion to every number, and I can’t wait to share all of their hard work with audiences soon!”

Bring It On The Musical is bold, explosive and unapologetically fun, a full throttle celebration of ambition, identity and finding your crew. Get ready to feel the beat, raise the stakes and bring it!

Bring It On The Musical will play for a limited season at The National Theatre in St Kilda from July 11 to July 26. Tickets are now on sale at booktickets.com.au

PERFORMANCE DATES
Saturday July 11 – 1.30pm (Preview)
Saturday July 11 – 7.30pm (Opening Night)
Sunday July 12 – 1.30pm and 6.30pm
Thursday July 16 – 7.30pm
Friday July 17 – 7.30pm
Saturday July 18 – 1.30pm and 7.30pm
Sunday July 19 – 6.30pm
Wednesday July 22 – 7.30pm
Thursday July 23 – 7.30pm
Friday July 24 – 7.30pm
Saturday July 25 – 1.30pm
Saturday July 25 – 7.30pm
Sunday July 26 – 1.30pm
Sunday July 26 – 6.30pm

TICKETS
booktickets.com.au
Preview (July 11) – $65
Premium – $119
A Reserve – $65

PRODUCTION TEAM:
Executive Producer: Andrew Gyopar
Director: Tahra Cannon
Musical Director: Claire Gurrin
Choreographer: Louise Panagiotidis

CAST LIST:
Emily McDougall – Campbell
Jenna Mole – Bridget
Taylor-Anne Bright – Eva
Cara Mia Honan – Skylar
Elle Fenelon – Kylar | featured dancer
Fergus Rann – Steven
Alyssa Jandayan – Danielle
Yurina Kutsukake – Nautica
Ari Rego – La Cieniga
Flynn Hunter – Randall
Zade Nabole – Twig
Sho Tochigi – Cameron
Gemma Rushton – Ensemble
Emma Pervan – Ensemble
Sahana Paine – Ensemble
Melissa Pritsis – Ensemble
Hayley Fields – Ensemble
Hugo Barbey – Ensemble
Lucy Kitching – Ensemble
Victoria Pickard – Ensemble
Alyson King – Ensemble
Taliyah Radio – Ensemble | Featured Dancer
Imogene White – Ensemble
Trinity Kelly – Ensemble
Erin Davis – Ensemble
Georgia Kemp – Ensemble | Featured Dancer
Maria Ospina – Cheer Leader
Abbey Duckworth – Cheer Leader
Shari Pieris – Cheer Leader
Vini Ramesh – Ensemble | Danielle Cover

 

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Spring Awakening

Spring Awakening

Spring Awakening Rating

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3

For many in the Perth theatre scene, Spring Awakening has been a highly anticipated production, with many performers passionate about the material.

The story centres on a group of young teenagers discovering their sexuality in a world where adults have led them to live rather sheltered lives. Covering themes of suicide, sexual violence and abuse viewer discretion is advised before attending.

Centred on Melchior (Joshua Hollander) and Wendla (Escher Roe), the pair navigate their budding feelings and the awkward first times that come with it. Roe – who also doubled as costumer – shows great naivety while Hollander brings a soft tenderness to his character that complement each other well. Together the pair work as a solid anchor for the performance. Direction from Taylor Broadley cleverly uses their arc as a mirror for the wider cohort who are all experiencing similar feelings.

Luca Daniel impresses as Moritz, the anxious classmate desperate to please his father – giving a very heartfelt performance in taking some strong themes. Ella McCaughey is the brooding and outcasted Ilse, another excellent casting with a fantastic voice, well suited to the show’s folk like style. Her performance of The Dark I Know Well, together with sister Marta (Ella Monaghan) was a highlight, both sung and performed excellently.

The real magic of this show is in the wider ensemble. Built up of actors who easily could, and have, lead productions themselves they all worked well together to flesh out the story and serve as the listening ears of the young school group. Personal standouts were Blair Price-Morgan as Georg who gave an incredible rendition of Touch Me and whose character provided great light in a very heavy show. Lukas Perez and Gab Sharra were also endearing as Ernst and Hanschen. Benn Austin, Tashlin Church and Abbey McCaughan worked overtime as the myriad of adults throughout the show, with Austin particularly showing great diversity between his many characters.

 

 

The music in this show is hauntingly beautiful. Led by Mathew Leak, the ensemble singing is flawless – with closing number ‘The Song of Purple Summer’ a memorable moment. Leak also leads a seamless orchestra, one of whom I was advised learnt the show in less than a day having to step in due to sudden illness but you wouldn’t have noticed at all. Unfortunately some sound imbalances often made it hard to hear soloists, which saw some exposition missed but you were still able to follow with context clues.

Jordan D’Arcy’s choreography is well thought out and executed by cast. Though it’s certainly not a dance show, the movement compliments the wider story well without impeding the critical moments, and makes great use of the multi level set (Craig Delbridge and Abbey McCaughan).

On the note of set, while clever use of levelling made it the stage feel spacious, there were a few scenes that felt quite compacted, especially at times where there were multiple different moments playing out simultaneously.

Admittedly, the ending fell a little flat for me. Without spoiling the story, I felt the final scene relied a little too much on audiences needing to use their imagination to piece plot points together and further set dressing (particularly to help indicate location) could have assisted in making this a more impactful moment. The final costume change was also a little jarring and removed me for the story despite being a vocal highlight.

With plenty of offerings in Perth theatre currently, I implore you to see this production. Having known very little about what to expect, I thoroughly enjoyed this show, a heart breaking yet beautiful story that is wonderfully executed by all involved.

To book tickets to Spring Awakening, please visit https://drpac.sales.ticketsearch.com/sales/salesevent/163791.

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