The Addams Family Inclusical – A Spectrum Of Success!

The Addams Family

The Addams Family Rating

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Once a year… it’s time for ‘Stars and the Moon Theatre’ to celebrate the stage with their intoxicating Musical Inclusical.

This year it is Wednesday and her kooky family who gather at the Alexander Theatre telling a gripping adventure with swordfights, potions, explosions, and scarier still, family dinners.

Director Lauren McKinnon, Musical Director Charlotte Greenslade, and Choreographer Benjamin Curé, together with an award-winning creative team, have brought the iconic Addams Family to life and it’s WAY better than good.

Stars and the Moon (STaM) is a unique ALL-ABILITIES theatre company. Their castmate model pairs performers with and without disabilities to support each other to make moving and accessible theatre with, not despite, their diversity. It is absolutely AMAZING! At first I did wonder “how will this work”, being on stage together as two people playing one character for all the roles in the show, but IT WORKS and dare I say it as my daughter agreed; we thought it was better than just one person.

Joining the contagious double-clap engages us immediately in the music we know so well… BA DA DA DUM… ‘click click’ and then ‘When You’re an Addams’ kicks in, I almost want to jump up to bunny hop and twist with them all giving quite the spooktacular opening.

So fantastic how they introduced all the “Ancestors” who complete the show atmosphere in strange and deranged costume sets of themes like cavemen, sailors, prisoners, clowns, ballerinas etc etc etc. Such fun and clearly this cast ensemble were loving the experience too. And the make-up, oh the make-up!

The set, the lighting and the energy from everyone on stage is so enthusiastic and who wouldn’t want to shake it with Cousin ITT – my favourite costume of seemingly bodylength dreadlocks, but can the Addam’s family be ‘normal’ for one night?

I’ve always loved the Gomez and Morticia characters. Gomez’ expression on everything is spot on, he’s so entertaining and Morticia is impeccable in her mannerisms and her unique ‘blackness’. Sometimes loving each other to bits and sometimes having a few marital issues, all four bounce off each other as if the roles were made for four people instead of two. The concept is again, genius!

 

The one-liners keep coming…. I’m still laughing at the hilarious mention of Scomo to Covid 19 and Morticia in the bedroom…

Wednesday as we all know has come into her own fame these days and it must’ve been a thrill to be cast as her – she is everything she should be and might be getting married… or will she? The acting by these girls is very good and they will keep you enthralled.

Pugsley took me back to watching him on The Addams Family re-runs as a kid and his electric chair face, ‘eeeek’… all he wants is for his sister to continue the torture…

The startling appearance of THING at the dining table was timed well and FULL DISCLOSURE showed off overwhelmingly impressive vocal talents – Alice, the mother of Lucas who might marry Wednesday, belting it out and standing on the table (a surprising move for her character) got applause that would’ve woken the dead!

Lurch and Uncle Fester were brilliant and could have stepped straight out of the TV series … they really have got all of this right and everyone plays their parts so well to intertwine this story of family differences.

So, will Gomez’ daughter Wednesday and Mal’s son Lucas tie the knot? Scenes throughout the show are full of comic emotion and messages about how to work things out, but if it all fails, well death is just around the corner to look forward to anyway.

This show was nothing like I expected. Yes, I knew it would be good as I had heard the STaM shows were high standard, but this? I did not expect a show where they could easily play in any theatre in Melbourne and still get a no-hesitation full-standing ovation from even the toughest critics. These people on stage are incredible, they absolutely crush the meaning of ‘all-abilities’, every single one of them – and their abilities as a group, WOW WOW WOW!!

My final note therefore are words from Grandma Addams “stop tik tokking and pick up a book” or grab a script – whoever you are – get into Theatre!

When I wrote this review there were very few tickets left and now they are SOLD OUT, so don’t miss their next show and check out INSTAGRAM @starsandthemoon_theatre or website https://www.starsandthemoon.org/

Theatre notes: Sign language is provided on the side stage with this show and the theatre caters for wheelchair access of course. Performers in wheelchairs are on stage too – remember, this is an ALL abilities show like no other!

Even though I did not personally know anyone in the show, I felt an immense sense of proudness on what this special theatre company had accomplished as they took their bows. Supporting the arts is so important, but supporting all-abilities in the arts, let’s champion these efforts.

Congratulations to the ENTIRE CAST & TEAM:

WEDNESDAY – Ruby Alford & Thanh-Tuok Autran
LUCAS – Alexander Gilbert & Dimitri Gosios
GOMEZ – Gabe Harari & Max Nunes Cesar
MORTICIA – Aisha Sivac & Lizzie Locke
UNCLE FESTER – Mark J Rintoull & Zac Parkes
PUGSLEY – Kade Groves & Meg Heathcote
GRANDMA – Jodi Sanders & Nixy Antmann
ALICE – Ashleigh Cole & Ellie Goldenberg
MAL – Bailey & Tal Ellinson
LURCH – Gilbert Esse & Joseph Folwell
THING – Jaimie Chapman & Viv Kane
COUSIN ITT – Zac Chester & Benji Arndt

ANCESTORS – Amy Tapp, Tamara Stanton, Asher Stanton, Brendan Saffer, Michaela Sacho, Michelle Gauci, Charli Cantoni-Bud, Lyndall Peachman, Ciara Wilson, Bille Ream, Daniel Kraus, Claudia Nanovich, Hope Challis, Monique Lustig, Uri Lowinger, Alice Johnson, Mia Penso, Adam Geller, Mark Polonsky, Conor Wilson, Theodora Tran, Cameron Miller, Kahli Anquetil-Kneale, Tahli McLean, Carlia Slade, Danni Miller, Dani Filip, Devin Goralsky, Ella Dunne Riseley, Netanel Morris, William Jasper, Lexi Kelsall, Zoe Better, Cheryl Plaut, Ebony May, Sally Elliott, Amit Shahar, Kate Skinner, Ryan Wilson.
Stage Manager: Ari Mosberg, Cast Manager: Tyla Manager, Front of House: Netanel Morris, Set Designer: Harry Gill, Costume Designer: Jessamine Moffett, Lighting Designer: Sidney Younger.

THE ADDAMS FAMILY book is by Marshal Brickman and Rick Elice, MUSIC & LYRICS by Andrew Lippa, BASED ON CHARACTERS CREATED by Charles Addams.

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A Horse Named Winx – Gallops To The Cinema!

A HORSE NAMED WINX

A Horse Named Winx Rating

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I’ve taken a jockey’s view seat at the beautifully posh Como Cinema in South Yarra – a perfect place to see the new big screen preview on the life of ‘Winx’, an Australian thoroughbred mare; a champion like no other who stole the heart of our nation like a modern day ‘Phar Lap’.

‘A Horse Named Winx’ is a movie length documentary on the story we DON’T know about Winx. If there had been a reality TV show during her racing years and after her retirement, this would be it.

Winx held the power to give the chance of a lifetime to trainer Chris Waller. Chris is interviewed extensively and rests on his true emotions and love for Winx – he seems humble and thankful – a bloke who previously felt like he didn’t belong amongst the great names of horse-racing.

The documented movie follows Winx’ owners’ memories and all those who were part of Chris’ training team; those who rode and cared for her from early days on the track right through to the birth of her record-breaking $10million foal.

Whilst the hopeful story (in general terms) is one very familiar to me; having lived on a horse stud with my brother and his mates dabbling in training and racing (like many others, they would’ve loved to have lived in Chris’ boots). Hearing my own mother’s childhood stories of her family’s retired racehorse property. My former lawyer-bosses trying their hand at the prestigious ownership game (they wrote out a lot of cheques for little return). This screening of Winx’ life however enlightened me to see what it’s really like for those who take on a filly without knowing her incredible potential.

‘A Horse Named Winx’ is “real” and not “acted” – you are seeing actual footage of the races with straightforward speaking from everyone at the heart of Winx’ career and success. You will probably watch it with eager eyes not because you might get some inside information on picking a winner (I personally don’t bet on horse-racing but I’m sure many who see it might), but because you will more generously appreciate all the work and sacrifice that goes into those moments where you scream GO GO GO, dress up for the Melbourne Cup or hear about your friend winning big on a trifecta.

There’s so much more to horse-racing; SO, SO, SO much more – it’s important to recognise that all the hype and glamour is brought about by animals trying to go faster than those next to them. ‘A Horse Named Winx’ highlights those thrilling minutes, but explains the real timeline to get to them. It shows us a fine line between training and talent.

A HORSE NAMED WINX

Winx’ job was to be a racehorse and was the “world’s best” in her era they say, something her buyers never thought would happen when their last bid was knocked down to originally purchase her at a mediocre price. And despite never going overseas; another factor showing her trainer and owners put priority on horse-welfare and did not succumb to invitations from around the globe and subject her to a 36hour flight. As an avid animal lover, this inclusion impressed me. These people don’t see the need to big-note themselves. They constantly praise the horse.

Two lines stood out to me:

“Who cares if she wins, is she OK?” and “What’s best for Winx?”

Mostly you are watching serious stuff and the thoughts behind difficult decisions being made, but there is some fun; apparently Winx could be a diva! You’ll find out how she got her name, and giggle at comments from the strapper “I’ll have to move to Germany” after she’s afraid Winx has hurt herself, the kind guy who broke her in “I rode her first”, and the farrier who states “no foot, no horse”. I liked these people who were also in Winx’ journey having their say and I liked seeing the veterinarian teams too being gratefully acknowledged.

Winx’ story proves anything is possible, you can be last and still come out on top. I agree with one cute race spectator’s opinion: “who wouldn’t love her?”

If you can hold back a tear on her final race ending with Hugh Bowman, you’re more stoic than me and I was watching that particular win for the first time (I now know why my mum wanted me to watch it back then).

This look into horse-racing is detailed from the opening scene to “awwww” return in the last one.

Enjoy and learn, as you should with documentaries, but remember not all racehorses are this fortunate (most are not) however highly recommended if you want to see a “real life” in-depth showing of the behind-the-scenes world of superstar equine athletes.

Exceptionally well done by Director Janine Hosking and Writer Andrew Rule who were given an opportunity of unprecedented access to develop a moving cinematic documentary; a horse-racing fairytale!

The star of the show is WINX.

Be the first to see her feature run in ‘A Horse Named Winx’ from 5 September 2024 – Tickets: https://www.palacecinemas.com.au/movies/a-horse-named-winx

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The Bridges of Madison County

The Bridges of Madison County

The Bridges of Madison County Rating

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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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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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