Put Some ‘DO RE MI’ Into Your Life!

The Sound of Music - Melville Theatre Company

The Sound of Music – Melville Theatre Company Rating

Click if you liked this article

10

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.

Spread the word on your favourite platform!

Poison: British Film Festival

Poison

Poison Rating

Click if you liked this article

1

Poison is a film that examines the relationship between a long-separated couple and their shared grief over the loss of a child. Premiering in Australia as part of the British Film Festival, the production marks the feature debut of Désirée Nosbusch.

The opening scenes promise much, carefully shot by cinematographer Judith Kaufmann, with particular striking images of a petrol station. Alas, from this point onward, the vision and action are confined to church buildings and their surroundings, where the couple meets to discuss the potential exhumation of their son’s grave.

The main roles are taken by English actor Tim Roth and Danish actress Trine Dyrholm, who play the ex-husband Lucas, and ex-wife Edith, respectively. The production feels more like a two-hander than a full cinematic experience. It’s no surprise to learn that the film is based on a play by the same writer, Lot Vekemans.

 

As the conversation unfolds, pain and bitterness begin to surface. It becomes clear that Edith has not moved on from her grief, while Lucas has remarried and is expecting a child. There are some well-written moments, but the script is choppy, with some glaring inconsistencies. For instance, when it’s clear that no one is coming from the church (a ruse by Edith?) a sense of tedium and claustrophobia set in. One begins to wonder why either character stays —or, for that matter, why the audience does.

Is it the script? The casting? The direction? The British-Danish pairing of the two leads simply doesn’t gel, although both actors deliver credible performances individually. This may be one of the reasons the film fails to resonate: there’s a total lack of onscreen chemistry.

This is a slow-moving piece that explores the suffocating nature of grief, or more specifically, grief as experienced by two individuals. It’s inoffensive, but strangely lacking in conviction and emotional power.

My Rating: A luke-warm coffee in the rain

The British Film Festival 2024 runs from Nov – Dec 8.

To book tickets to this or other films click https://britishfilmfestival.com.au/ for session and venue details.

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.

Spread the word on your favourite platform!

The Tundra Within Me

The Tundra Within Me

The Tundra Within Me Rating

Click if you liked this article

1

The Tundra Within Me is part of the Scandinavian Film Festival, Freedom From Fear stories. The film is set on the snowy plateaus of Northern Norway and revolves around an erstwhile reindeer herder who gave it all up to become an artist in the city.

The main character, Lena, is played by Risten Anine Kvernmo Gaup and presents the film’s main problem, ergo, a not particularly likeable central character. As a single mother with one son, Lena returns to her roots and almost immediately embarks on an affair with a local herder, Máhtte, (Nils Ailu Kemi,) who isn’t particularly likeable either. Neither party is represented as particularly appealing, which makes for dull, screen-time company. Sigh!

Unfortunately, first-time director and writer Sara Margrethe Oskal presents us with a predictable, linear narrative that is weirdly enervating. However, the film’s strengths are the landscape, the actual reindeers, and some beautiful footage of the Aurora Borealis.

As the plot progresses, there’s a (slight) love triangle presented, amidst a bit of phone-texting. (Roll of eyes) Lena draws by romantic-looking candlelight, what? Generally, artists need a bright, stable light source, and her naked, reindeer horns n’ skull themes are risible. (Any teenage, angst-ridden, ex-art students in da house?)

The Tundra Within Me

That being said, there’s a local yoiking competition, which is a kind of indigenous chanting, and singer Gaup can hold a tune. Perhaps this is why she was cast? This is a high point in terms of her performance. Credible supporting cast include Anitta Suikkari as the disapproving Márjá and the local bar-owner, (name unascertainable,) amidst other Guap-family members, including the son. No nepotism here!

It’s all a very tepid, or should that be icy? affair that is ultimately unsatisfying. Like the title, perhaps something has been lost in translation? Better writing and casting might have made a difference, especially when the film revolves around one character. The film does have something to say in regard to the clash between modernity and tradition, and it does provide an insight into the traditions of the Sápmi herding life; for that, it may be worth seeing.

My Rating: Slushy – as in the melting snow kind

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.

Spread the word on your favourite platform!

The Promised Land Film Review

The Promised Land

The Promised Land Rating

Click if you liked this article

1

The inimitable Mads Mikkelsen heads the cast of this epic drama, set in 18th Century Jutland, Denmark. The main narrative revolves around one Captain Ludvig von Kahlen (Mikkelsen,) a long-time soldier, and his attempts to cultivate a seemingly uninhabitable heath as a new settlement. His nemesis, a local landowner and all-round villain, Frederik De Schinkel is played with utmost, epicene gusto by Simon Benebjerg.

Director and co-writer, Nikolaj Arcel, (Riders of Justice, Girl With the Dragon Tattoo,)has been painstaking in his attention to historical authenticity and it is something to appreciate. Tricorn-hats-off to the costume, art and lighting crew – the result is exquisite. The mist o’er the heath, the frosts, the driving rain, the howling wind and the bleak, unforgiving darkness, contrasted with the luminous firelight, candle-light, lamp-light and ever-living sunshine. Pick out the mise en scene from any one particular shot and you have a classic study in chiaroscuro – cinematography by Rasmus Videbæk.

Based on a loose adaptation of the book, from a tenuous story about the real Kahlen, the plot gets off to a gripping start, when the loathsome Schinkel realises that the Captain presents a threat to his own ambitions and authority. Local pastor, Anton Eklund, who is sympathetic to the Captain’s cause, introduces him to tenant farmers and labourers, Johannes and Ann Barbara – both fugitives from their cruel master, Schinkel. (All three actors, Gustav Lindh, Morten Hee Andersen and Amanda Collin turn in faultless performances.) Throw in the complication of a love-triangle, the aristocratic Lady Edele Helene, (Kristine Kujath Thorp), and the stage is set for a classic tale of good v evil, justice v injustice, plebs v aristocracy…

The Promised Land

It’s impossible not to be drawn in to the growing relationship between Ann Barbara and the Captain – especially after her husband is captured, tortured and literally boiled to death by Schinkel. An outcast, Romany-child, Anmai Mus, is befriended by the duo – and the trio become an unlikely family group. Happiness subtly creeps up on all three of them – unfortunately, the Captain’s overwhelming ambition is their undoing…

A word has to be said on Mikkelsen’s performance which is generally, brilliantly nuanced – a warmth in the eyes, a curl of the mouth, a smile. He certainly has cornered the market in strong, silent and minimalist. Romany-child, (Melina Hagburg,) is so utterly beguiling that even Mikkelsen stands a good chance of being upstaged.

What is truly disappointing, is that the last act of the film devolves into sentimentality that has the audience question all that we’ve learnt about that world, the main character, his hardness and obsession. Unfortunately, the ending lacks credibility and even borders on the ludicrous, especially given the time period that had supposedly elapsed. A realistic ending, true to the time would have been more powerful, and may have said more about ambition and the ‘hollow crown’ – than the presented fairy-story ending.

Despite some flaws, to misrelate the words of the Desiderata – “it is still a beautiful film”.

My Rating: Four glasses of champagne.

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.

Spread the word on your favourite platform!