The Bridges of Madison County

The Bridges of Madison County

The Bridges of Madison County Rating

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10

Many in the audience will be familiar with the highly successful film, based on the book, starring Meryl Streep and Clint Eastwood, but here we are now sitting in Melbourne’s Beaumaris Theatre for the musical version of The Bridges of Madison County.

As a fan of the movie, with a full house on opening night and being in this great little theatre again (where I did my very first review for ‘Whats The Show’), I can’t wait!

As the lights dimmed above our seats, I found the opening of the show very touching with the photographic screen rolling of times gone by and excellent live music accompaniment. This is the type of theatre where you don’t need to dress up or be knowledgeable on the Arts, we can all just sit back and relax to enjoy what is ahead. My husband really enjoyed the show and was so pleased he could wear his jeans and windcheater. Well, we are off to an Iowa farm…..

Set in 1965, the story is an intense, 4 day impromptu love affair between Francesca Johnson (Candice Sweetman), a beautiful Italian woman who married an American soldier to flee war-ravaged Italy, and National Geographic photographer, Robert Kincaid (Michael Gray), after he pulls into Fran’s driveway whilst her family are away at the State Fair.

Candice is just wonderful playing the main role of ‘Fran’, ‘Frannie’, “Francesca’ and ‘Mum’ depending on who is talking to her, and when she is singing her stage presence comes alive completely! Her eyes actually sparkle (good lighting effects or beautiful eyes – or both) and her smile lights up the stage, but when she is sad or reflective, her character’s emotions are felt with a tug of empathetic heart strings. I was transfixed in watching her in every scene, experiencing real love and real loss.

Michael as ‘Robert’ is perfection. He is of course the main male role but he’s also ‘the other guy’ because Fran is married to Bud (Adam Rafferty), and you can’t help but wonder throughout the show, should she or shouldn’t she? Who could resist Robert, he’s not only handsome and caring, he lives in the moment, tries not to think about things too much and travels the world – his life is far removed from Fran’s. What could they possibly have in common?

Whilst there is plenty of ‘oooo’ from the audience at the loving moments portrayed by the main characters, perhaps the ‘sexiest’ was performed with extra enthusiasm by Marge (Liz Catford), Fran’s envious neighbour. She is so funny and you’re definitely going to laugh! Especially when her hubby Charlie (John Tacey) steps in. At many times they prove themselves to be the most supportive neighbours.

Fran and Bud’s teen children Carolyn (Sienna Iscaro making her debut at Beaumaris) and Michael (Jordan Poyser) are absolutely fantastic talents x 2. If you have teenagers you will relate to them even more and they’ll give you hope too that teenagers aren’t always teenagers LOL, they do grow up! My favourite conversations were Michael’s with his Dad about driving the car (a conversation very like those that my husband sitting next to me and I have had with our 18 year old) and Carolyn’s nervousness being calmed by her Mum – Mum is always the one to call in a crisis, like when you are about to try and win ‘Steer of the Year’ with a cow you raised HAHA.

This musical is full of rich emotion about the choices we make and how they shape our lives. Internally yearning, as the day that Robert must leave approaches, Fran faces confusion and dilemma. Can she, in reality, abandon her children and loyal husband? Could there be a chance that such a spontaneous relationship with Robert would survive over time? Would it be worth the risk?

This show tells the past, the present and the future – you won’t be left wondering anything, it is a story you also are unlikely to forget. This performance will certainly stay with me far longer than the movie did as it is more in depth in explaining the emotions and timelines of everyone within.

I’ll give a quick shout out to the excellent ensemble too, as the ensemble in my mind always makes the whole show what it is – those little bits and pieces from them either in the background or foreground round out scenes to make them more memorable. My favourite was the waitress who obviously had her own opinion of how Robert and Fran should or should not be!

You must see this show if you are a fan of the story or anything remotely like it. It is truly captivating and the music and singing is beautiful with amazing voices, heartfelt lyrics and some very comical moments too. You will laugh and you will cry and you will relate to something or someone in almost every scene.

The show is running 9 – 24 August 2024 at Beaumaris Theatre, 82 Wells Road, easy to park in the surrounding streets. It’s a lovely little local theatre with mostly tiered seating (flat floor for rows AA-CC) and good access for wheelchairs too. Programs are provided along with a more than adequate canteen pre-arrival drinks and interval snacks.

Support local theatre and ENJOY!

Tickets via: www.trybooking.com/CSETI

MUSIC AND LYRICS BY JASON ROBERT BROWN | BOOK BY MARSHA NORMAN

BASED ON THE NOVEL BY ROBERT JAMES WALLER

DIRECTED BY COLIN ARMSTRONG | MUSICAL DIRECTION BY SUE FLETCHER

CAST:
Francesca – Candice Sweetman
Bud – Adam Rafferty
Robert – Michael Gray
Michael – Jordan Poyser
Carolyn – Sienna Iscaro
Marge – Liz Catford
Charlie – John Tacey
Marian & Young Francesca – Jessica Almery
State Fair singer & Chiara – Amelia Little
Ensemble – Daniel Ischia & Christine Wood

Photography credit: Pietro Giordano

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Paper Lanterns, Paper Cranes – Most Innocent Victims Of War

Paper Lanterns, Paper Cranes

Paper Lanterns, Paper Cranes Rating

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28

Set about 10 years after the atomic bombing ended World War II. The synopsis of a Japanese teenage street-child named Kyushu admitted to hospital with unknown reasons as to her problematic eye sight, incorporates the more well-known true story of 12 year old Sadako, who set out to create a thousand origami cranes whilst dying of leukemia from radiation caused by the bomb. The play is headed in the Director’s Note as “Emotional, Serious, Powerful”.

Remembering at all times that this story is a very real and accurate representation of what would have happened to hundreds of families and children, I had a special interest in seeing this play as I have been to the The Hiroshima Peace Memorial (Genbaku Dome), the only structure left standing near the hypocenter of the first atomic bomb remaining in the condition from the explosion. Whilst there, I was handed paper cranes which were placed into my palm and those of my children. In fact, I have one of these symbolic carefully folded creations immediately in front of me on my desk as I write. It is always, at first, sombering to look at, but then brings a message of hope, so I feel it appropriate to work somewhat “backwards” in my review.

POWERFUL – The final stance on stage between Kyushu (Midori Hong) and Lilly (Sara Riippa) is extremely strong. Kyushu has accepted that not all Americans are to blame and that there are those who were motivated to help her. Her sight is clearer, not only physically but mentally. From her hospital bed, with beeping machines and constant doctor visits, she has shared her childhood view of how she felt helpless to help in a scenario no-one should ever need to endure.

Understandably, she had to block out her worst memories and ignore the efforts of those around her and her typical speech and behaviour of a teenager does not go unnoticed, but she has survived. By slowly working the pieces together, Dr. Takamura (Sam Cay) and Dr. Frizzel (Michelle Rooke) expertly uncover Kyushu’s history and as to whether or not her circumstances have led to her suffering ‘A-bomb’ illness.

SERIOUS – Sadako (Danielle Zuccala) would be a difficult role to play. It required the actress to go from her ability of arriving at the hospital still able to chat, stand and walk with a positive outlook on staying strong, and hold that positivity through to the end whilst making her paper cranes and whilst flailing in her health. Danielle was very good in this role, her stature dropped as it was required, her voice changed as it was required, but her expression of positivity remained. She made me think about this character a lot on the way home, her character was the reason I am looking at the paper crane on my desk.

EMOTIONAL – The entire supporting cast are excellent. Benjamin Chester playing ‘The Assistant’ had me at times not liking him at all and then finding him endearing. I could watch him forever and I imagine he could play any role given to him, as too could Carmen Moschietto playing ‘The Cockroach Woman’. Half the audience jumped out of their seats with fright at her, but her realism in engulfing the pain which we must remember was suffered to the extreme by so many is real, very real, and she made it felt to the point that more than one shiver ran through me.

The remaining roles all support the story set on stage and their character personalities are well-rehearsed performances, especially given some are not playing their actual age and that this is a topic far removed from these young people’s lives. They would have needed to use a great amount of empathy to be involved in any part of this script. The ‘movie’ scene is one of few with laughter initiated, but in this scene there is an abundance of acting skills allowing us to join in. It was good to have this effort remind us of how a smile can help.

Exceptional work by Director Oscar Lanigan, Producers Lucy Butler, Emily Brown & Adam Porrett and their creative and stage teams. You have taken a story completely out of anyone’s comfort zone and told it well, very well indeed.

Their first show since COVID-19 the play is presented at Camberwell Grammar School by Camberwell Grammarians’ Theatre Company (CGTC) – Instagram:@cgtheatreco

The underground parking and signage to Middleton Theatre within the school grounds was easy through Gate 3 on Mont Albert Rd. A canteen operated and programs were provided free of charge. This current play is running 17-19 July 2024. CGTC encourage new interest for future productions via emailing cgtheatreco@gmail.com

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Finesse: An Australian First

Finesse

Finesse Rating

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12

Whilst always being required of course for Salsa and Latin dance classes, ‘heels’ have rarely been seen in a regular dance school until very recently. Now you can find ‘heels’ classes on many weekly dance timetables at studios everywhere, but reviewing the first specific heels dance show in Australia, is very exciting!

The Siren Heels Company “Finesse” launch on Friday 5th July 2024 promised “delicate, impressive and sexy”. Excellent and engaging dancers, Estelle, Georgia, Jaime, Jessica, Jordan, Kimmie, Liam, Lia, Maddy, Sarah and Vicki, bring the vision together with Director and Founder of the new venture, 25 year old Peyton Leete.

Rehearsals must have indeed been taxing but worth the long hours as their timing and syncopation on the accents of the music is slick and their energy endless. All the dancers, including Peyton herself, are a tight team for the entire program – smooth transitions and incredible stamina is also on show here, and yes, you’ll hold your breath and your heart will skip a beat or two in parts.

Firstly, the music choices on the program can’t be beaten, they are perfectly selected from yesteryear’s Hollywood glamour to a modern day Catwalk vibe. Secondly, great costuming must be praised and it would have taken some very creative wardrobe brains to think of how black lace and a red garter would go strutting alongside a bright orange puffer jacket and make it work!  

In the showcased burlesque items, I wonder what designers of the essential corset undergarment in early centuries women’s fashion would say about these current elegant pieces, which definitely do not seem to hinder any breathing or ability to move.

Act 1 is full to the brim of everything ‘JAZZ’ – A fitting opening “Feeling Good”, choreographed by Peyton, has everyone on-stage and in the audience knowing that a long awaited night is now full steam ahead!

So, let me get right to the point, no dance show taking you back in time is complete without Fosse and a favourite was surely ‘Big Spender’. Originally written for the musical Sweet Charity, I doubt there’s another song even remotely similar that packs a punch like it does. A flashback moment in itself, I remembered performing to this song in my own youth as I watched Maddy’s solo, though the moves were a lot more tame back then (haha), and Maddy a lot more daring!

Fun fact, whilst ‘Big Spender’ is famous for Shirley Bassey and Peggy Lee, it was actually recently discovered that Cilla Black first performed it at London’s Savoy Hotel in 1966, by a forgotten tape found by her family. It makes a memorable moment to watch dancers perform to a song with interesting history. My grandmother would have known the words off by heart and although if she were here today she may not have approved entirely of Maddy’s attire, my 18 year old daughter sitting beside me and listening to the song for the first time, loved it!

‘Jaguar’ performed by Jordan is eye-catching choreography and her technical training is obvious, but her interaction with the audience was what stood out for me with this solo and I’ve seen a zillion dance solos over the years. Her gorgeous persona shone, she was mysterious and told the story she wanted to tell while we listened.

Act 2 is themed ‘FRENCH’ – filling the theatre with anticipation on shadows as ‘Derniere Danse’ dimmed the lights and ‘Fever’ heated up the lighting. However, I had seen in advance that ‘Toxic’ was on next – you know when you want to say turn up the volume, because Jessica definitely did that defining single justice. Then a WOW with ‘Roxane’ (I’m a tango fan), performed by Sarah – insane dancing, flawless execution.

Act 3 titled ‘FAME’ – I absolutely have to give a shout out to Liam for his solo ‘Queen of Pop’. Boys who dance never cease to be an incredible inspiration and steadfastly prove that this industry is definitely for both sexes and who doesn’t love a death drop, especially when you least expect it. The crowd did go wild!

If we were not informed by now that the growing popularity in ‘heels’ classes can incorporate many genres of dance, Kimmie’s talent certainly amplified this in her very rhythmic and more commercial style solo, before the group remix of Britney Spears’ hits was the showstopper highlight.

I won’t give anything else away, there’s a LOT in this show, there’s a lot of dancing, a lot of iconic music, a lot of smiling, clapping, jaw-dropping action, but mostly I would say there is LOVE. Love for dance, love for showcasing dancing in heels with excitement, and of course it’s sultry and sassy from start to finish, so the show suits older teens and adults because it does have mature themes throughout.

Peyton created Siren Heels Company because she wanted to create a space that nurtures passion and creativity. This company is for dancers who want to inspire each other and challenge the ideas of Heels dancing which encompasses many genres and styles. The idea for Siren Heels Company came to her five years ago and she started planning. Her new company embodies the values of treating people fairly, working hard, having fun and supporting each other.

“Heels is often misconceived as being hyper sexualised and in actual fact this show is all about class and fun” Peyton said, and after countless rejections from those who have not always treated her like the professional that she is proud to be, she wants Heels dancing to be appreciated as the art form it deserves to be known for.

If you are interested to see what it’s all about, there is still time to grab a last minute ticket for Saturday 6th July 7pm via trybooking https://www.trybooking.com/events/landing/1230831 or keep an eye out for the next Siren Heels show – auditions are open and this is just the beginning …..

Congratulations to Peyton, who has been brave enough after dancing for more than two decades herself to develop her own dance company and put her heart and love into what she and her cast clearly love, those HIGH HEELS!

ps. the Silver Boots – where do you get them????

NOTE: This show was hosted at Melbourne Dance Centre, Brunswick. Parking is easy in the street or near Coles – walking distance away. The theatre venue is warm with tiered seating and a glass of wine was on offer with a welcoming atmosphere.

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Billy Elliot Shines With CLOC Musical Theatre

Billy Elliot The Musical

Billy Elliot The Musical Rating

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15

This is the 60th anniversary year of CLOC Musical Theatre (formerly Cheltenham Light Opera Company) and president Ric Birkett is beaming proud of Billy Elliot The Musical.

I always thought this show was based on a true story, but to my surprise it is fictional. However there would be many boys in dance classes around and many successful male dancers worldwide that could totally relate to this script in more ways than one. Being accepted as a male dancer certainly has its challenges and though it has improved immensely in recent years in genres such as hip hop, tap, jazz and commercial, there are still not a lot of boys taking up ballet like the character of Billy.

There would only be a handful of boys who could even play this role in Melbourne and two of them are on stage here in their first show with the CLOC production team, being Lukas Elliott (his real last name) from Victorian College of the Arts Secondary School and Sebastian Sero having trained with the The Australian Ballet School. I saw Lukas (and yes, he’s thrilled to be playing his namesake even though it is spelled differently) and he was a standout for his acting ability too. This show is all about Billy the whole way through, it’s demanding but a dream role for a young boy who loves to dance!

Set in the 1980s at the time when the closure of the North England coalmines saw the conservative government of Margaret Thatcher take a particularly vengeful and confrontational path, the language in the show takes “it’s OK to swear in art” to a whole new level! Being honest, it was a bit of ‘shock therapy’ as I settled into the atmosphere, but as the show goes on you realise the script writing does portray exactly how such a community would speak in this situation, so don’t worry, you get used to it and will likely laugh at a lot of quipped lines.

Billy’s father is played by returning loyal CLOC member, Chris Hughes. Seventeen years after his last show with CLOC, he’s a natural in acting the tough guy typical miner who does not want to see his son become a dancer, at least not at first. He does come around eventually after a dressing down from Billy’s secret ballet teacher played by well-known Melanie Ott in her 10th show with the company, but not before his other son, Billy’s older brother who is exceptionally characterized by Joshua Sumner, gives every reason under the sun not to allow Billy his chosen path.

This show introduces a ton of new talent in the ballet girls, all in their first show with CLOC and they are everything from funny to cute. The high pitched screaming as they run onto stage was probably not unlike what their parents heard at home when they got a spot on the cast. It’s a coveted place to get into one of CLOC’s shows and of course there are no other shows where this many young accomplished dancers get to twirl around, be silly and act like they’ve actually never danced a concert in their life, which in reality is far from truth. In particular, it was the chance of a lifetime for Emily Bon-Fuller and Isla Everett to play “Debbie”, the impertinent daughter of Billy’s dance teacher. I saw grade 6 student Emily who can definitely act with sass!

Billy’s close friend is played by youngsters Angus Hutchinson and Harrison Lloyd both also in their first CLOC show. I saw Angus and he was an absolute delight to watch, he must have had a lot of fun in this role and he surely has the most fun dance number with giant dresses and Billy by his side. Again, these boys can dance!

A shout out to “Grandma” played by Barbara Hughes, who has worked for almost 50 years in non-professional theatre but was cast in the ensemble as the Grandma cover in the last professional Australian touring production of Billy Elliot, cut short by COVID, so in this show she finally got her chance. Her character calls it like she sees it, something many a Nana can get away with. Age gives you that right.

Billy’s mother (deceased) makes appearances in his mind by Elise Stevens and you can’t help but envisage any child’s lost parent watching on from Heaven to see their child go for their dreams.

The amazing Ensemble truly makes the show. There is so much energy on stage. It is loud! It is mining! It is teamwork! In the audience you feel like you are part of the action, and heads up to the choreography skills that managed to have so many people on stage not bumping into each other (unless it was on purpose with fists ready).

Billy Elliot will appeal to anyone really. It’s got enough manly guts in it to take your hubby (even though he doesn’t like musicals) and enough softness to reflect upon standing up for your work colleagues, helping the cause about what you believe is right for your community and above all, supporting your children’s goals.

I wonder if there was a “real” Billy Elliot in that mining town, who perhaps just didn’t get the chance to shine like this show does. I hope it inspires other boys who like to dance to try ballet. I hope it is a reminder that boys dance too. The world needs more dancing.

Congratulations to the Direction trio of Lynette White, Chris White, David Clausen-Wisken, and the entire CLOC team, this show is superbly executed, so fight your way to a seat for one of the last shows coming up!

Tickets 10-25th May via www.cloc.org.au

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