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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School of Rock The Musical: Towering, Empowering and Crackling with Energy

School of Rock

School of Rock Rating

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1

10 years since its Broadway debut, School of Rock The Musical is back at the top of the class, thanks to Passion Productions. A musically catchy, infinitely quotable and enormously demanding show, SORTM is delivered with such courageous energy and commendable execution, the audience feel like they’re in the band, on top of mount rock – sticking it to the man!

Based on the 2003 Jack Black film, SORTM follows Dewey Finn (Lachey Gleadhill), a struggling musician crashing with his friend Ned Schneebly (Jackson Kellaway) and Ned’s partner Patti Di Marco (Isabella Farry) – to Patti’s vocal and repetitive disapproval. Under pressure to start contributing financially – and suffering from a hangover, in addition to the indignity of being kicked out of the band he started himself – Dewey pretends to be Ned, taking up a substitute teaching assignment under his assumed identity, at the prestigious but stuffy and structured Horace Green Prep School.

While at Horace Green, Dewey quickly wins over the students with his unorthodox exuberance and enthusiasm, polishing their musical potential, entering them in The Battle of the Bands. However, his legitimacy and longevity at Horace Green hang in the balance; Will the school faculty or parents uncover Dewey’s deceit? Will Horace Green empower the students to succeed, when their chosen path subverts set expectations?

As Dewey Finn, Lachie Gleadhill is well cast, gaining momentum throughout the performance. Gleadhill has a natural rapport with scene partners, especially the youngsters. This is perhaps unsurprising, where Gleadhill is a high school music teacher by trade. It is nice to see the grumpier, hung over Dewey lighten into the more youthful and optimistic incarnation in the second half; Dewey Finn works best when played loose and light.

Jackson Kellaway is an affable Ned Schneebly, providing a centred counterpoint to Dewey’s manchild character; a rocker at heart, like Dewey, but unlike Dewey he has abandoned his dream of musical fame in favour of a respectable day job, reconciling himself to a grounded, grownup reality under the thumb of Patti (Isabella Farry). As Patti, Farry is an entertaining study; While she is perhaps the stories chief antagonist, naggingly judgmental, putting Dewey down at every opportunity, on some level we can sympathize with her predicament, dealing with an inconsiderate, freeloading friend of her partner, outstaying his welcome.

 

 

My favourite adult performance comes from Isabel Kruse as Miss Mullins, bringing deft nuance to her character’s story arc, in addition to a remarkable operatic voice, which also lends strongly to the show’s more contemporary fare. Kruse’s number ‘Where Did the Rock Go’ beautifully illustrates the show’s deeper counter theory- that real life requires compromise, where people settle for lower risk realities, in favour of pursuing their wilder dreams.

However, SORTM truly belongs to the talented young cast, who each deserve hearty recognition for their great work. It is wonderful to see such dedication to detail, presenting fully realised characters who are alive and fully fleshed-out, filling the stage with interesting shapes, serving the scene even when they are not at the centre of the dialogue, avoiding any dead moments.

Particular highlights from the younger cohort include Saana Chang as Summer Hathaway, turning in a lively performance with charisma and excellent dance and gymnastics ability, Emily Winwood as Zara Mooneyham with her natural stage presence, emotional gravity and superlative musical abilities, and Alessia Lily Monteverde as Tomeka Spencer-Williams, showing incredible vocal ability, with precise vocal runs and excellent pitch.

Chloe Coleman as Freya Hamilton catches the eye with rhythm and commanding confidence belying her youthful age, while Henry Hedger is a charismatic Billy with terrific comedic timing and the perfect amount of sass.

A talented ensemble cast play multiple adult roles seamlessly, while the onstage band capably guide the tempo and bring atmosphere to the show.

While on preview night there were a couple or minor sounds issues, and an occasional flat note, such criticism is picky, when SORTM is such irresistible fun. Huge credit is due to the Production Team, led by Director Connor Clarke, alongside Musical Director Jacqueline Atherton and choreographer Stephanie O’Shea, to triumphantly present a complex show like SORTM at this scale and quality. Overall, an entertaining, family friendly night out, that is towering, empowering, and crackling with energy.

To book tickets to School of Rock, please visit https://events.humanitix.com/the-school-of-rock.

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Jesus Christ Superstar

Jesus Christ Superstar

Jesus Christ Superstar Rating

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The Redcliffe Musical Theatre Production of Andrew Lloyd Webbers Jesus Christ Superstar has completely left audience members robustly cheering whilst ascending from their seats in appreciation of this spectacular local production.

The main cast members consisting of Jeandre Le Roux as Jesus, Erickson Ilustre as Judas, Stephanie Collins as Mary Magdalene, Jonathan Johns as Pilate and Kuna Smith as Simon Peter, were supported by an amazing local cast of performers as they enthusiastically brought the production to life. Whilst Act 2 section 6 consisting of Jake Hollingsworth who plays King Herod, completely stole the show by winning over the audience with his cheeky musical performance of King Herod’s Song.

Jeandre Le Roux who plays Jesus arrived on stage to both cheers and applause showing a respectful amount of acknowledgement from his fanbase within the audience and sharing with us his skills as a Tenor. Jeandre’s outstanding vocal ability shone as he progressed through each song as Jesus, projecting his vocals to each audience member.

An outstanding performance was given by Stephanie Collins as Mary Magdalene performing the classic ballad “I Don’t Know How To Love Him”. As an avid fan of the song for many years, I was engulfed in goosebumps with the tone and passion of the performance. The vocals of the support cast excelled and effectively aided each of the main cast as a fully functioning team whilst also providing effective dance performances and highlighting the true meaning of live musical theatre.

 

Due to the setting and the historical elements of the storyline the use of smoke and simple yet effective use of beige and khaki outfits for the costumes, represented the time period of the story as this was believed based on the visuals whilst effectively showing emotions via carefully crafted dramatic expressions. The Last Supper settings were simplified with the Apostles, Jesus and a very sparce table setting which considering when the storyline was set, was perfectly situated within the stage.

Set design was kept in a simplistic design of metal platforms and higher situated balcony’s in order to showcase the performers and not have a focus on fancy over designed pieces which based on the storyline was not in a need to be overly occupying of the stage space.

Lighting highlighted different sections of the production which in turn allowed the main performers to be thrust into the spotlight allowing them to shine when it was their turn to tell their story. The music was provided by a band consisting of modern day pieces such as electric guitar, drums, flute and a percussion section which made a highly effective impact for dramatic pieces of the storyline.

Although a modern day rendition of an original much loved London musical by Andrew Lloyd Webber and Tim Rice it has since its first stage incarnation on 12 October 1971 at The Mark Hellinger Theatre in London made an impact for many decades around the world with its cast carefully crafting the drama and cruelty of the past.

Jesus Christ Superstar is a theatre must-see.

To book tickets to Jesus Christ Superstar, please visit https://www.redcliffeentertainmentcentre.com.au/.

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Stunning Production of CATS: Not To Be Missed!

Cats The Musical

Cats The Musical Rating

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2

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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