Lizzie The Musical: Milky Way Productions

Lizzie

Lizzie Rating

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Off the back of Evil Dead, Milky Way productions has continued its love for the sinister and spooky with its second major production: Lizzie the Musical.

Somewhere between a concert and a sung-through musical, this show was a true celebration of femininity with four powerhouse femme presenting vocalists and an all-female band (despite interestingly being led by two male directors).

Telling the story of Lizzie Borden – a woman tried for the axe murder of her father and stepmother in the 1800s – you wouldn’t expect it to be 90 minutes of punk rock bad-assery, but boy was I pleasantly surprised.

Lukas Perez anchors the show as the titular Lizzie, innocent and manic, all the while singing the absolute house down (and clearly having a ball doing it). They’re paired well against Jessica Huysing as Alice who brings a softness to an otherwise hard hitting show.

Brittany Isaia shows off her vocal prowess as Lizzie’s sister Emma – with her and Perez’ duet ‘What the F*** Now Lizzie’ a highlight. Sarah McCabe rounds out the small but mighty group as the eerie Borden house servant Bridget.

McCabe doubled as costume designer for the show and did not miss, with some beautiful period style outfits turned rock-princesses later on, and an excellent choice of colour blocking to clearly identify each character.

With an on-stage band (expertly led by piano-conductor Akari Komoto) and large set piece that dominates the space the cast are left with little room to make use of which both added to the concert-like feel though also made some moments feel constrained. This carried through to the overall movement and choreography which at times felt uncertain and squashed – again potentially due to perhaps the unexpected lack of performance space.

Technically, balancing a rock band against just four voices was always going to be a challenge, with the singers often overpowered in the louder points of the show. However, this certainly improved in Act 2, and I’m sure it was just an opening night teething issue.

Directors Kieran Ridgway and Luke Miller have rounded up the very best of Perth talent for this production, and believe me it shows. A master-class in vocal agility – do yourself a favour and buy a ticket because this cast is deserving of far more than its small (yet highly appreciative) opening night crowd and you certainly won’t be disappointed.

To book tickets to Lizzie, please visit https://drpac.sales.ticketsearch.com/sales/salesevent/144012.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Tick, Tick… Boom!

TickTickBoom

TickTickBoom Rating

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Presented in under 6 weeks, Limelight Theatre has shown that diamonds are made under pressure. Tick, Tick… Boom! is a slick and polished performance in all elements of production.

Telling the story of the life of RENT composer Jonathon Larson, this show is full of heart, humour and a healthy dose of reality.

Jordan Richards leads the cast as Jon, offering an authentic and heartfelt performance with strong vocals throughout. Though his voice did seem fatigued towards the end, I feel it served the character well as it mirrored his emotional arc.

Ellie Coburn shines as Susan, genuine and caring, working well with Richards whilst also showing her own vocal prowess. Best friend and artist-turned-businessman Michael is given life by Blair Price-Morgan – albeit a little young for the character – he too, was consistent throughout.

While this show is typically played out with trio, this particular production was rounded out with a small but sharp ensemble that filled out the wealth of smaller roles with great enthusiasm, each putting their all into their overzealous caricatures.

 

Personal favourites included Aliesha Archer’s talent agent Judy Wright, and Jake Battle as Jon’s father – both a great laugh. Georgia Goff enjoys her moment in the spotlight as Karessa Johnson singing a beautiful (duetted) rendition of ‘Come to Your Senses’.

Caleb Stevens’s choreography (which also doubles as ensemble) is simple but effective. It adds just the right amount of movement to build up moments without distracting from the main story.

But the testament must also go to the cast and the band, who are clean and concise under the guidance of Jasper Cruden.

I was also a big fan of the lighting design (Matthew Roberts) built into the cubic set. It was a fun and welcome surprise and added great flare to the otherwise simple brick set design.

Overall, I was highly impressed with the quality of this production from start to finish and highly recommend you snatch up a ticket to the remaining performances.

To book tickets to TickTickBoom, please visit https://www.taztix.com.au/limelight/

For Phone Bookings TAZ Tix @ 9255 3336

PERFORMANCE DATES:
FEB 27, 28, MARCH 1, 2*, 6, 7, 8
Recommended MA 15+

Times:  Evenings at 7.30pm, *Matinees at 2pm

Tickets:  $37 Adult, $32 Concession (seniors/students),
$30 Members, Groups 20+ $32 each
processing fees apply

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Put Some ‘DO RE MI’ Into Your Life!

The Sound of Music - Melville Theatre Company

The Sound of Music – Melville Theatre Company Rating

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The Sound of Music at the Melville Theatre Company revisits the famous story of a novice sent to work for a widowed naval captain and his seven children. It is set against the backdrop of the Austrian ‘Anschluss’ during World War II.

Director and musical theatre devotee, Neroli Sweetman has accomplished a grand feat, in wrangling a sizeable cast and crew to bring this ambitious production to fruition.

As might be expected, there’s a plethora of singing postulants—read: nuns. The four-hander between Sisters Bertha (Lily Wakeling), Margaretta (Ebony MacFarlane), Sophia (Parish Findlay), and the Mother Abbess is particularly charming,  All four of these actors bring genuine nuance to their characters.

Wimples-off to Eilish Marie Blackmore as the Mother Abbess. Though perhaps a tad young for the role, she delivers a soaring rendition of ‘Climb Every Mountain’ that could rival a West End performance.

WAAPA graduate Hannah Charlotte, playing Maria, starts a little nervously but warms to the lead. By the play’s end, her performance is truly endearing—with a touch of the Kate Winslet. And that’s high praise.

The Von Trapp children are utterly delightful from start to finish. Played respectively by Escher Roe, Leon Brand, Aurelia Turley, John Bell, Quin Dally, Halle McDonald, and Jasmine Dally (with doubles Charlotte Theodorsen and Bowie Silvay). As soon as they appeared, the stage-wattage went up and their renditions of “Do Re Mi’ and ‘So Long Farewell’ had the audience enraptured.

 

The weak link in this production was Captain Von Trapp, stiffly played by Nigel Goodwin. He comments, “I’ve never been called exciting before” and unfortunately, in terms of a lead performance, never a truer word has been spoken. Given that the love story is a central premise to the script, credibility,  passion and even ‘Edelweiss’ went south here.

Similarly, Max, played by (Daren Goodison) looked the part but struggled with both timing and showmanship. What might have been witty three-handers between the Baroness, Max and the Captain became about as wooden as anything you’d find at IKEA. It may be that the lovely Baroness (Erin Sirle) struggled to find her form given the incumbent lumber.

Antagonist, Admiral Von Schrieber ( Kieran Smith) doesn’t cut the mustard either, lacking both age and authority. Less gravy and more gravitas?  Weaker scenes aside, the costumes were impeccable and deserve special mention, as does the ensemble cast, who were consistently impressive in both character work and harmonies.

Supporting actors Peter Shaw (Franz the Butler), Imogen Porter (Frau Schmidt), and Zac Porter (Herr Zeller), leaned into their Teutonic accents channelling an entertaining ‘Allo ‘Allo  vibe.  That being said, the he old stage wisdom – either everyone in the cast does accents, or no one does – might have been more effective than a Smith’s Variety Pack approach.

 

Rolf (David Bell) and Liesl (Escher Roe) both show promise and it will be interesting to watch where these young performers go, as did newcomer, Michael Smith as Baron Elberfield.

The set design suffered from a case of indecision-itus, wavering between realism, minimalism and kitsch; the plastic greenery being a low blow ( or low brow?) On the other hand, the wedding and final scenes were both visual and musical delights.

This is community theatre, and as such, it deserves support and appreciation. It runs on the goodwill and tireless efforts of so many talented contributors. A  standout, special ‘Alleluia’  to Nick Navarra and team for their spirited (and spiritual) musical direction – and the choreography. You’ll likely find yourself humming a tune on the car ride home.

Who among us couldn’t use a bit more ‘Do-Re-Mi’ in our lives?

The Sound Of Music runs to November 30th. To book tickets, please visit https://melvilletheatrecompany.au/

Session Dates/Times:-
Performance Dates:
Evening
November 15, 16, 17, 21, 22, 23, 24, 28, 29, 30

Matinees
November 17, 24
Times: All evening shows at 7.30 pm
Sunday Matinees – November 17, 24 @ 5 pm

Photography: Curtain Call Creatives

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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9 to 5: The Musical

9 to 5: The Musical

9 to 5: The Musical Rating

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Don Russell Performing Arts Centre hosts Art in Motion Theatre company as they present 9 to 5: The Musical, based on the iconic 1980s film by 20th Century Fox, with music and lyrics written by the legendary Dolly Parton.

Walking into the theatre, it was both intimidating and exciting to see the band sitting right there, front and centre, staring at you as you walked in. It was intimidating because you walked around the corner practically into the band, and it was exciting because the musicians were normally hidden in the pit, and often, community-based musicals rely on recorded music. Who doesn’t love live musicians at a musical?!

My first thoughts on the show were that it was confronting. As a feminist in 2024, where gender parity is still very much a goal to strive for, it was confronting to see this portrayal of workplace culture in the 1970s (which really doesn’t feel like that long ago; if anyone mentions that it was half a century ago, we can no longer be friends) and to realise just how far we have come.

The show was light-hearted and funny and didn’t feel like a lesson in feminist agenda, yet seeing the way actor Aaron Lucas portrayed the villain, Franklin Hart, with the support of the whole male cast, made me uncomfortable, which may have been the intention. I heard someone in the packed audience say, ‘Can they say that now?’ which tells me that the director, Lys Tickner, did a great job of showcasing the themes of empowerment and feminism, without losing the fun-filled musical feel that kept audiences toes tapping.

For those unfamiliar with the show, 9 to 5 is set in an office in the 1970s. The office boss, Franklin Hart, is a sexist, pompous letch with zero ethics with his eye well and truly on Doralee Rhodes, played by Jen Gadeke, a married country girl who can’t seem to make any friends at work. Once the rumour of her affair with Hart is debunked, Doralee is befriended by the new girl and soon-to-be divorcee Judy Bernly, played by Stacey Gobey, and office supervisor Violet Newsted, played by Sarah McCabe, who has taken Judy under her wing, all of whom try to stay away from the office snitch Roz Keith, played by Mary Carter.

We know that when women circle, good things happen. So after a small mishap with poison, one thing leads to another. A kidnapping occurs, and from there, the friends take it upon themselves to hide their misdeeds while also setting the world to rights and creating the kind of workplace that people want to work in. Productivity goes up, escape happens, and the good guy (girls) wins in the end. All set to iconic Dolly Parton music.

The cast do a brilliant job portraying the characters and belting out a tune, I spent the show thinking ‘oh, she’s my favourite….oh no, she is…..ohhh I like her…’ between the female leads and when curtain call came I clapped and cheered for them equally but wanted to boo for Lucas (but did restrain myself), which I’m taking as a sign he did a great job portraying an awful character.

The sets were great. The set changes were really quite simple, and yet when Gadeke climbed the ladder to look for the missing file, I swear I saw a file move! I have to say that the scene with the photocopier might have been set in the 1970s, but it was a little too relatable for a 2020 office. While we may have come a long way with employment law, we haven’t come far at all when it comes to photocopier paper jams!

Hats off to the costume director. Noteworthy moments included the ensemble of Roz (how good are those glasses) and the ensemble of Frank in shorts. Some things can not be unseen; I think that vision will be with me for longer than I wish.

The music is wonderful, with some well-known (and some less well-known) Dolly Parton songs hosting over-the-top dance numbers and dream scenes. Even if you have never heard a Dolly Parton song, you will still be bopping along with the music. A great way to spend an evening.

9 to 5 is at the Don Russell Performing Arts Centre November 8, 9 and 10. With just one weekend, and three shows remaining, book your tickets for 9 To 5: The Musical as soon as possible.
https://drpac.sales.ticketsearch.com/sales/salesevent/138177

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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