Peter And The Starcatcher

Peter And The Starcatcher

Peter And The Starcatcher Rating

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Ever wonder how Peter Pan came to be in Neverland? Or how he got his name? Or the exact means by which Captain Hook ‘acquired’ (or perhaps I should more accurately say, ‘required’) his hook? Well, wonder no more, as ‘Peter and the Starcatcher’ gives us the prequel to Peter Pan that we never knew we needed to cover all of these questions and more.

Winner of 5 Tony awards, and written by Rick Elise, Peter and the Starcatcher is a feast for all the senses, and a production the whole family can enjoy.

Although the play is a prequel to Peter Pan, you really don’t even have to know anything about Peter Pan (but I think everyone knows the story, whether they want to admit it or not!) to enjoy this production as a stand-alone story. But of course, knowing the story and characters of Peter Pan will make the show much more enjoyable; you’ll simply get so much more out of the very clever writing and humour.

The story begins out at sea, and you’ll be forgiven for taking a bit of time to get up to speed with the characters and story, as you are thrown right into the depths of this fast-paced production from the start. But once you orient yourself with the different characters and how they relate to the well-loved classic, Peter Pan, you can sit back and enjoy the ride.

 

And what a ride it is! The show is a feast for the senses with beautifully crafted sets, costumes, music, and stunning puppets. There is dancing, singing, live musicians on stage, and oh, the humour and comedy!

The show is marketed for all ages, including kids 8 years and older. But I would question how much the younger kids would actually understand. It is a fast-paced show, especially in the dialogue, which is extremely well written. Almost every line seems to have some sort of joke, pun, or reference linked to it, and with the fast pace of it all, I am sure I missed some of them. So although the kids may not understand it all, there is still so much they can enjoy visually and musically from this production.

Having live music played on stage was lovely, and weaving the musicians in and out of the scenes on the rolling pianos and stages was a nice touch.

The puppets were a beautiful addition to the play, really adding a lovely magical feel. And the actors did a great job in the puppetry on stage, brining to life a variety of animals.

The different sets, lighting, and costumes were a visual smorgasbord and feast for the eyes. Talk about some impressive costumes (keep an eye out for the mermaids!).

The cast were a joy to watch together, with some very strong performances shining though.

 

Olivia Deeble commanded the stage and really showcased her amazing talents in acting, singing, and dancing. She really is brilliant as the leading young lady, Molly: the character who we learn turns out to be the mother of Wendy in the Peter Pan we are familiar with.

Colin Lane was another standout performance and brilliantly cast as the hilarious ‘Black Stache’, the pirate captain who we know as Captain Hook. Lane stole the show with his witty humour; at times clearly off-book with some jokes, but never allowing it to be out of line with the show or his character.

If you are looking for a show that brings you a lot of joy, magic, and laughter, Peter and the Starcatcher is just what you need. A great production to bring the whole family along to enjoy.

Peter And The Starcatcher is playing now until the 1st December.

To purchase tickets please visit https://peterandthestarcatcher.com.au/

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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Sweeney Todd Presented by Victorian Opera

Sweeney Todd

Sweeney Todd Rating

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Sweeney Todd has again emerged from the shadows into the Melbourne limelight, with audiences greeting this season’s combined Victorian Opera and New Zealand Opera cast with rapturous applause.

Directed by Stuart Maunder, Sweeney Todd unravels the story of a twisted barber who returns to Victorian-era London after being unjustly forced into a 15-year exile. Todd returns with vengeance, committed to finding his wife and daughter, but on his arrival is instead snatched up by the obsessed, and whimsically mad, Mrs Lovett, owner of the Fleet Street Pie Shop. Sweeney Todd’s initial plan quickly turns grotesque when he opens his Barbershop above Mrs Lovett’s Pie Shop and embarks on an evil murderous rampage.

The pair devise a plan to fill Mrs Lovett’s meat pies with the flesh of Todd’s victims, which has fleeting success before spiraling into tragedy. As Mrs. Lovett becomes deeply infatuated with the barber, Todd himself is one-track-minded in rescuing his daughter Joanna from the local Judge and punishing Judge Turpin for his long-time iniquity of Sweeney and twisted fantasies for Joanna. The barber finds himself causing irreversible damage as he and the audience embark on a journey of mounting obsession and evil desire.

The production is enhanced by the exceptional casting selections of its lead characters, who are utterly perfect for each role. Vocal technique and proficiency were certainly in their prime among the classically trained cast, and it was a joy to witness Sondheim’s iconic score performed with such accomplishment.

The audience was instantly charmed by this season’s Sweeney Todd. Ben Mingay impressed audiences with his unlimited vocal prowess and loyalty to the deeply troubled Mr Todd. Devotion to the complexity of Todd’s character was evident throughout Mingay’s portrayal, and in the ballad “Epiphany” audiences were left stunned by the singer’s astounding vocal range.

Mrs Lovett, played by Antoinette Halloran, was a stand-out performer who was able to both bestow her musical magic upon the audience and yet accurately fulfill the personal and vocal sensibilities of an unhinged middle-aged woman living alone in Victorian-era London. Her delivery of the comically self-deprecating “Worst Pies in London” was heartily received by the audience.

Tobias, the adoringly protective orphan son of Mrs. Lovett and Mr Todd, was nailed in every sense by the talented Mat Verevis. The delivery of Tobias was boldly vulnerable and moving, as Verevis single-handedly decelerated the production to reveal an impending tragedy.

Costume and stage set design is led by Roger Kirk and contributes significantly to the overall polish of the production.

Perhaps one of the most iconic and challenging sets in all of Sondheim’s work is featured in the live staging of Sweeney Todd. As Mr. Todd and Mrs Lovett embark on an evil plan of collaboration, the circling stage set is turned into a multi-dimensional work of art. Praise is due for the immaculate delivery of Mr Todd’s hysterical barbershop chair, featuring a trap door into the basement of Mrs Lovett’s bakery.

The on-stage murderings typically prove to be another point of challenge (and contempt) throughout the production of Sweeney Todd, however, this staging seems to do it rather well. There was a reputable balance between well-illusioned and shocking bursts of fake blood, and yet also a total sense of control over every one of Mr Todd’s slaughter scenes.

At the conclusion of the musical, it was heartening to see the orchestra members and conductor Phoebe Briggs brought to the stage alongside the cast during the final curtain call – a rare and gracious nod to their unseen yet devoted duty to Sondheim’s musically complex score.

Overall, The Victorian Opera and New Zealand Opera cast delivered a staging of Sweeney Todd that was both creatively empowering and loyal to Sondheim’s original vision. The production is a must-see, and must-hear experience, with shows running at Melbourne’s Arts Centre until September 21.

For Tickets, book online at https://www.victorianopera.com.au/production/sweeney-todd/

Remaining Dates & Info
Tuesday 17 September, 7.30 pm
Wednesday 18 September, 7.30 pm
Thursday 19 September, 7.30 pm
Friday 20 September, 7.30 pm*
Saturday 21 September, 2.00pm, 7.30pm

Duration
2 hours and 45 minutes, including an interval

Language
Sung in English

*Audio description and tactile tour.
Do you or a member of your party need to access Audio Description for this performance? Register here to reserve a wireless receiver pack and ear piece and/or attend the Tactile Tour.

Age Recommendation
Suitable for ages 12+, parental guidance is highly recommended.

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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China National Symphony Orchestra – Review

China National Symphony Orchestra

As someone who listens non-stop to ABC Classic on the radio, I can embarrassingly admit the years between attending the Symphony in person are often long and unpredictable.

For whatever reason, when I plan a weekend or evening out of entertainment, an in-person visit to the Symphony is rarely on my radar. This is something I was wholeheartedly reminded to correct recently as I had the pleasure of attending the China National Symphony Orchestra at Hamer Hall. (A sophisticated and easily accessible venue that is a part of the Arts Centre Melbourne complex in the middle of the City.)

From the moment of arrival, I felt welcomed and at ease as I navigated the venue and got myself some items from the concession. I easily found my seat and started taking pictures, as did almost everyone around me. Hamer Hall is simply beautiful, and honestly, there can be no bad seat in the house. 

As part of the 2023 Australian Tour of Adelaide, Sydney and Melbourne, the China National Symphony Orchestra arranged a concert composed of the Chinese classical masterpiece ‘Dance of the Yao People’, a violin concerto ‘The Butterfly Lovers’ and Beethoven’s Symphony No.7 in A Minor.

Words cannot give justice to the incredible compilations attendees enjoyed. 

Dance of the Yao People, composed by Liu Tieshan and Mao Yuan, is one of the most recognizable and popular Chinese instrumental compositions of the 20th Century. Fun fact: the first 18 notes of the 1998 song “When You Believe’ by Whitney Houston and Mariah Carey for The Prince of Egypt movie were based on Dance of the Yao People. (Although the composers remained uncredited.)

It is easy to become rapt in the music and entranced by the motion of the orchestra as they weave through the lingering notes or rhythmically pluck chords and lean into the faster tempos. Maybe it is a vivid imagination of a youth spent watching Disney’s Fantasia, yet in many moments I could almost see the shapes and colours of the music in my mind’s eye. The music was vivid, expertly crafted and performed.

The Butterfly Lovers, composed by He Zhanhao and Chen Gang, is a Violin Concerto and one of the most famous Chinese works of orchestral music.

The concerto is one movement but comprises seven sections that tell the story of Zhu Yingtai and Liang Shanbo, her lover. Zhu and Liang are represented by the solo Violinist and Cello, respectively.

It was an exceptional treat to listen to one of the foremost and influential Chinese violinists today, Lu Siqing. His exceptional mastery of the instrument is evident, and his confident command of the work and his craft is inspiring to see.

China National Symphony Orchestra

Chief Conductor Li Xincao is enthusiastic and exceptional; his long list of achievements and international recognition is a testament to a young man at the epitome of his craft.

Completing the afternoon was Beethoven’s Symphony No.7 in A Minor, which perfectly fused the East meets West program and continued to reinforce the beauty of the music.

The China National Symphony Orchestra enhanced my understanding of Chinese culture, deepened my love of classical music and inspired me to remember to include a visit to the Symphony much more regularly in my entertainment planning. I would be the one missing out were I not to do so, and as music has an intrinsic way of speaking to us all, I believe that applies to most of us! 

Follow the China National Symphony Orchestra here so you don’t miss their next visit to Australia!

And don’t forget to check programming at Arts Centre Melbourne here, so you don’t miss out on future classical music offerings!

This review also appears at It’s On The House.