The Heartbreak Choir

The Heartbreak Choir

The Heartbreak Choir Rating

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7

Pymble Players’ production of The Heartbreak Choir’, by Aidan Fennessy, at Zenith Theatre in Chatswood, is brilliant. The Zenith Theatre is one of Sydney’s gems. There’s something magical about a community theatre group performing a play based on a community choir. Choirs foster connections and the audience certainly connected with this production.

When a tragedy rocks a township, it dramatically affects relationships. The local choir splits into two groups. Through this upheaval, ‘The Heartbreak Choir’, emerges. A group of people with a range of ages and backgrounds, come together. These individuals are in search of their own voice and in doing so, support each other. The choir rehearses several iconic Australian pop songs in acapella-style. If you are fan of Paul Kelly, Natalie Imbruglia, Hunters and Collectors, you are in for a treat. All the performers can sing beautifully and their harmonising is spot-on. Many people in the audience were joyfully humming along.

Being an Aidan Fennessy play, the dialogue is witty, poignant and impactful. The Gospel feeling of the songs helps the characters traverse all their emotions. Barbara (psychologist and choir leader), is joined by Mack (an outspoken herb farmer), Aseni ( a heavily pregnant African doctor), Totty (a fluro-vest wearing entrepreneur), Savannah ( an anxious young woman, who whispers rather than talks, yet has a powerful singing voice), Peter (a local policeman with some interesting dance moves) and Beau (Peter’s son who forms a bond with Savannah). These characters prove that what unites us is greater than what divides us.

 

 

The life-affirming powers of music are celebrated in this show. When tragedy occurs, it’s often an involvement in music that will enact the healing process and soothe the soul. Playwright, Aidan Fennessy, was dying upon completing this play. Fennessy’s own sense of mortality adds an enormous amount of gravitas to the work. There’s a real urgent plea for people to overcome and collaborate.

The finale, ‘Lanterns’, (Birds of Tokyo song), is sung with such anthem-like passion, that everyone around me joined in. It’s lovely to see members of the Pymble Players on-stage with their lanterns, to add to the spectacle.

Heather Pitt has directed ‘The Heartbreak Choir’, with obvious enthusiasm, as she also plays the choir lead role, of Barbara. Kristin Kok, Chantal Harrison, Gina Willison, Aja Elshaikh, Trent Gardiner and Will Evans, perform their roles with aplomb. Mark Pigot, Musical Director, could be snapped up by The Voice or Australian Idol, as the singing was top-class. Wayne Chee and Nicholas Pang, did a great job with the lighting and sound. Heather Pitt also worked with Daniel Ferris to create a charming set. I had previously seen the MTC and Ensemble Theatre productions of ‘The Heartbreak Choir’. Pymble Players certainly have the heart and soul to match them.

To book tickets to The Heartbreak Choir, please visit https://pymbleplayers.com.au/the-heartbreak-choir.

Photographer: David Allsopp

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The Sound of Music

The Sound of Music

The Sound of Music Rating

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26

Saturday and I’ve already seen two shows, both same but with different child casts.

NOVA Music Theatre’s latest production of The Sound of Music is unforgettable, accompanied by an astounding orchestra (Peter Grant OAM).

Opening night I see with my piano teacher friend who long ago auditioned for ‘Louisa’ in a professional production. She did well she said but didn’t secure the role, however she has extensive knowledge of all things music, so I look forward to her feedback (LOVED!!!).

Second visit was matinee with mum-in-law; special to sit with someone who saw the legendary original movie in a theatre and this is her next experience – seeing that movie as a stage show for first time! (like me, LAUGHED and CRIED).

A large chorus of Nuns walk solemnly through a full-house to stage. Harmonious opening and in every scene they feature, a wonderful group of singers of all ages.

Playing the coveted role of ‘Maria’ is Lauren McCormack. I’ve seen and appreciated her talents before. Easy breezy beautiful voice on a mountain backdrop instantly recognisable she sings the title song with thankful eyes and true heart for both her character and this huge role honoured to her. Every note, step and expression from first meeting the children as kind and caring, to when she scolds the Captain with fierce protectiveness, is genuine from start to finish.

Playing ‘Captain von Trapp’ is Tristan Everett. He must bring strength in many emotions; controlling, stern, sadness, love, care, anger, worry, and leadership in taking his family out of Austria to safety away from the Anschluss. Tristan is just the right fit, no wonder he has done 30+ musicals.

‘Mother Abbess’ played by Meagan Gaffney – what can I say to even do her justice? Meagan has a vocal career in part as Principal Artist for Opera Australia and her ‘Climb Ev’ry Mountain’ is breathtaking. I can add even the little girl with pigtails sitting in front of me was absolutely still. When this song closes there’s not a person in this room who hasn’t felt it to their core. It was indeed a privilege to hear Meagan sing a song that was an integral part of her musical family upbringing. Thank you!

In many moments with Mother Abbess and Maria are ‘Sister Margaretta’ (Julie Wright), ‘Sister Berthe’ (Bec Muratore) and ‘Sister Sophia’ (Samantha Mason); all fun and I loved watching eye movements and facials communicating often without speaking.

‘Baroness Schraeder’ played by Lauren King (once amongst lucky kids in the Qantas Australia advert), she is fantastic in this posh role and dressed appropriately rich.

‘Max Detweiler’ is played by John Leahy brilliantly! In theatre for over twenty years his lines are delivered with gut experience and comedic interaction. NOVA could not have cast better.

Max Geddes who plays ‘Rolf’ is exceptional; never falters from full commitment every time I see him in a production, showing off his training from graduating at Victorian College of the Arts Secondary School. Samara Trimble playing opposite him is on par as eldest child ‘Liesl von Trapp’, stepping up in this much sought after role to dance beside him and with a gorgeous voice – Samara currently a VCASS student. Their ‘Sixteen going on Seventeen’ is to be commended also in cute choreography (Wayne Robinson) well suited to limits of doing this loved scene on stage. When Rolf jumps on his bike after he lands that famous kiss from Liesl (in moving arabesque) and Liesel squeals with delight, it’s Woo-Hoo for these two!

There are of course some very foreboding moments over and above the love stories. Thunder! Stormtroopers! Swastika flags loom frightening reality. Insightful and scary to when the real von Trapp family survived. Credit due to sound tech, lighting and set construction.

One lighter and more lovely stunning scenery change is when the kids are teaching themselves to dance; a pictured backdrop suddenly goes up revealing a ballroom of exquisitely costumed guests waltzing in the von Trapp mansion. Hats off to costume designer Stephanie Lumb and Director/Set Designer Noel Browne/Brenton van Vliet.

Pamela Braithwaite as ‘Housekeeper’ great accent, along with Ben Geddes as ‘Butler’, Hannah Brodribb as ‘Maid’, David Sly as ‘Gauleiter’, Richard Budge as ‘Baron’ and Michael Capon as ‘Admiral’, they all superbly act their parts.

Finally, the adorable children; those fabulous roles of the other six von Trapps; Gretl played by Harriet Staples/Ivy Hall (both super cute, loved sleeping on stairs), Marta played by Anthea Ellis/Scout Kwong (both super young actresses, loved pink parasol line), Brigitta played by Ella Wursthorn/Arabella Brockhurst (both super expressive, loved you telling Maria your father loved her), Kurt played by Aiden Cooper/Charlie Rainey (both super star actors, loved antics in The Lonely Goatherd), Louisa played by Prudence Rosel/Olivia Simos-Garner (both super convincing, loved advice to Maria) and Friedrich played by Daniel Spillane (outstanding stage skills no doubt on cast-call for many shows to come).

Ensemble applause: Tamsin Ashdown, Amber Gedge, Marina Batikha, Pavlo Bittikha, Lusia Kho, Lauren Bolzonello, Neave McGeehan, Stephen Brennan, Ben Milkins, Madeleine Brown, Davied Nicholls, Stephen Burton, Robyn Parker, Felicity Byrnes, Hannah Powell, Ewan Charlton, Vini Ramesh, Carrie Chiu, Fional Rosel, Miranda Choo, Brian Sweetman, Nicole Cooper, Phoebe Whitehead, Oscar Geddes, Cindy Yan and Kate Judge – extra clap for Kate’s ‘bowing woman’ – played well through to finale, very funny!

‘So Long, Farewell’ this musical will always be one of ‘My Favourite Things’.

To book tickets to The Sound of Music, please visit https://www.theround.com.au/soundofmusic.

Photographer: Gavin D Andrew Photography

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Mamma Mia!

Mamma Mia! The Musical

Mamma Mia! The Musical Rating

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13

Mamma Mia! is μεγαλοπρεπής (magnificent!)

A little Greek island has popped up in Melbourne’s beautiful old National Theatre.

As I arrive walking in behind two girls who had been turning heads walking down the footpath in full blue jumpsuits and white boots, many more were in the foyer dressed up Insta-ready for a night in the world of ABBA songs and a journey of love, laughter and finding out what’s really important about family.

I’ve seen Mamma Mia! 12 times and each time I love it more. Who doesn’t love ABBA? Well, if you don’t, don’t let it stop you from going because this musical offers surplus to ‘thank you for the music’.

The story in Mamma Mia! is super-charged with questions. ‘What would’ve happened if I’d done that?’ ‘What will happen if I do that now?’

This is where Mamma Mia! sits – a story centering around an important choice where villa owner Donna, played exceptionally well by Bek Chapman, chose to embark on a solo-parenting life. Her now 20 year old daughter Sophie, played beautifully by Belle Parkinson, is confused as to why she does not know her Dad and so invites three potential mentions in Donna’s old diary to her upcoming wedding at the villa, but without telling her mother she has done so. Donna and Sophie share many heartfelt moments and the fact they look similar make it more believable as mother and daughter co-stars. (I tried not to cry this time at ‘Slipping Through My Fingers’ but did not succeed – likewise I have girls who wore pigtails)

Strong performances by Sophie’s three possible Dads, all played by accomplished thespians, Sam Anderson as Sam Carmichael, Shannon Foley as Harry Bright and Luke Stephens as Bill Austin, they all give each of their characters due seriousness and light-heartedness. When you have three leads like this with this type of experience you are going to get a WOW factor regardless; they bounce off each other like they’ve been performing the show for months already.

 

 

Adding to the males in this impressive cast is Jesse Vasiliadis as Sky (Sophie’s future husband). Jesse is a grad of WAAPA Fine Arts Acting, I particularly felt all his lines were so well delivered I could’ve been watching the movie in those parts, and in any of the more complex movements required about the stage at various times he was also nimble on his feet!

Sky’s buddies Pepper played by Abe Geyer and Eddie played by Deklan Haas were every bit the clowns, so funny!

As for Sophie’s supportive besties; Elena Atanasovski is fabulous as Ali, her training at Jason Coleman’s Ministry of Dance definitely shows; and Ally Long as Lisa, a graduate from the Queensland Academy of Excellence in Musical Theatre – yes excellent! They both understudy main roles too so look out for these two.

There is some hard-hitting choreography in this rendition (by choreographer Adriana Pannuzzo). The energy of the cast is overall infectious and I loved how they added dancers on side to many songs. The ‘moving bed’ is a huge prop to work with and is shown off by brilliant co-ordination of lighting (Ian Scott). The choreography particularly in this scene, ‘Under Attack’, is absolutely well thought out as it’s difficult to make such a scene look seamless.

As is common in this musical, the audience went wild for all the boys in their flippers on stage with the character of Donna’s friend Tanya played by Sasha Hennequin teasingly singing ‘Does Your Mother Know’ and this is usually my favourite. It was fantastic as always and Sasha is superb as the foxy Tanya, however my smile muscles got another good workout watching the interactions of Donna’s other bestie Rosie played by Antoinette Davis with her very direct sex appeal toward the initially hesitant, but then enthusiastic Bill played by Luke Stephens – they were frick” hilarious!!! That ‘Take a Chance on Me’ scene stole ‘best in show’ for me this time around.

Within the ensemble I noticed constantly Patrick Friedlander shining and later learned with no surprise he is a WAAPA graduate and was chosen as the show’s Dance Captain. Another was Geelong’s Lily Mullen-Wood getting my attention, I flip through the program and yes no wonder, she’s currently training at Transit Dance with Andrew Hallsworth. Definitely two to watch in future amongst this whole group of top talents.

Finale was sparkly and spectacular with the biggest ABBA hits! ‘Mamma Mia’, ‘Waterloo’ and naturally ‘Dancing Queen’ saw EVERYONE getting involved in the atmosphere, and I have to give credit to Karen Spencer for her outstanding use of having those quick change costumes!

I recommend you grab a bunch of friends (Abba loving or not), dress up (or at least wear something blue), and say I do I do I do want to go see Mamma Mia!

Congratulations to Director Pip Mushin and Musical Director Kent Ross working on this show with Executive Producer Andrew Gyopar and their entire production team, cast, crew and creatives.

CAST:
DONNA – Bek Chapman
SOPHIE – Belle Parkinson
SAM – Sam Anderson
HARRY – Shannon Foley
BILL – Luke Stephens
ROSIE – Antoinette Davis
TANYA – Sasha Hennequin
ALI – Elena Atanasovski
LISA – Ally Long
SKY – Jesse Vasiliadis
PEPPE – Abe Geyer
EDDIE – Deklan Haas
ENSEMBLE – Alessandra Negro, Angelo Vasilakakos, Darcy Ward, Gabrielle Ward, Isabella Gangi, Isabelle Pascua, Joey Phyland, Lauchie Mant, Lily Mullen-Wood, Matilda Simmons, Patrick Friedlander, Sophie Loughran, Steve Thomas.

To book tickets to Mamma Mia! The Musical, please visit https://agtheatre.com.au/mammamia/.

Photographer: Natalie Edge Photography

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STARBOUND MUSICAL THEATRE – Talent, Tenacity, Teamwork!

Starbound

Starbound Rating

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19

‘Talent, Tenacity, Teamwork!’ titles the program to the annual STARBOUND MUSICAL THEATRE production. In its 22nd year, those three words really do sum up the high standard and work ethic of everyone involved.

Founded by Jason and Georgina Parker, experienced teachers in the world of drama and all things associated with the stage, they run a tight ship and ask for no less than complete commitment for two weeks from each and every performer, but this well-known husband/wife team along with a myriad of mentors and creatives are also very welcoming, friendly and encouraging.

Every January their annual show ‘STARBOUND’ is a delightful, funny, energetic, thought provoking and outright entertaining mix of musical theatre songs perfected by the strong young cast of students aged 14 – 21 (this year there were over 100!). Each individual song performance could be dropped straight into the musical it came from no questions asked. These young people on stage are all out of the box and they are, without doubt, potential future stars!

Having had my own eldest just leave to live overseas and take up a professional performing contract, I know what these kids on stage are going through and what many are hoping for: to work as a professional performer. Anywhere, but in Australia especially, this is a tough ride, a tough ask and a tough goal to achieve. Participating in STARBOUND MUSICAL THEATRE gives every single person on stage that opportunity – to experience what its actually like to be in a professional show and have the support of a creative team to learn from. The best in the business join Jason and Georgina each year to offer helpful tips and guidance. Putting on the show is just part of this intensive course. Over long rehearsal days, friendships are made and belief is built.

 

 

They open spectacularly with TWENTY MILLION PEOPLE (‘My Favorite Year’), followed by OPENING NIGHT (‘The Producers’) and WHAT’S INSIDE/OPENING UP (‘Waitress’). Eagerly awaiting seeing ‘Waitress’ myself to come to Melbourne I absolutely enjoyed a little sneak-peak of the main character and all going on around her.

Following was my ‘pre-decided’ favourite number of the program I NEVER MET A WOLF WHO DIDN’T LOVE TO HOWL (‘Smash’). I watched the Smash series with my daughter after she received it on DVD as a gift years ago and we both squealed with excitement when we heard it was actually becoming a musical. Again, thank you Starbounders for showing off this new work – I have to remind myself that everyone on stage is under the age of 22. So much talent!!!

Lots more favourites continue on with pizzazz and enviable costuming. Who doesn’t love a chance to BEND AND SNAP (‘Legally Blonde’) or completely flip emotion and cry with ONE MORE DAY (‘Les Miserables’) bringing the house down prior to interval.

The fact they’ve done this in two weeks is unbelievable and something lots of the audience are talking about whilst perusing over the ‘Company 26’ names in the program waiting for the curtain to go up again.

An equally fantastic second act included colourful interpretations of ONE SHORT DAY (plus others from ‘Wicked’). Brilliant pink v. green lighting helped make these outstanding and in fact no props were needed in the show, the lighting guys throughout are to be commended.

We finish the two hour production on another of my all-time faves, CONFIDENT (‘&Juliet’ – happy to be hearing it again after my last review) and CAN’T STOP THE FEELING (‘&Juliet’) gives an entire cast party atmosphere with the audience and stairs full of smiles, claps and waves to their loved ones watching on proudly. The theatre is packed!!!

On a side note, I took my Mum to this show and I always ask what my accompanying guest likes best – she loved THE MARCH (‘Suffs’) and said it was extremely powerful! She had not seen or heard of it before but truly understood the message of equality sought and portrayed by the strong presence coming through a young female ensemble. To have given such presentiment deserves recognition. There are still parts of the world where standing strong for equal rights is more than relevant. I am sure the audience felt that final stance in the row of black dresses.

And here’s a few more side notes I’d like to applaud:

The Heathers group with CANDY STORE, I haven’t seen this show, but now I want to!

The jump splits line (Dallas Cowboy Cheerleaders inspired?) and all the choreography – NAILED

The ‘Cry-Baby’ transition from THE ANTI-POLIO PICNIC to WATCH YOUR ASS – two completely different songs but seamless, exceptionally well done (also loved the costuming and jiving here)

The guy playing Fiyero in DANCING THROUGH LIFE, exactly!

The tiny little girl who belted out CONFIDENT as confident as Demi L herself

I could go on and on… CONGRATULATIONS EVERYONE!

If you have children or young adults you know interested in pursuing a career in Musical Theatre, STARBOUND MUSICAL THEATRE is definitely one to check out – see ‘how to audition’ on their website:

https://starboundmusicaltheatre.com.au

“The best two weeks of the year” would be in agreeance I imagine for hundreds of young people over more than two decades, and yes, some have even seen success not only securing roles in professional shows in Australia, but on Broadway too!

This annual show isn’t just for those families who know someone in it, its for anyone and everyone who love Musical Theatre so follow their Instagram @starboundmusicaltheatre

The Alexander Theatre is easy to get to, free parking on weekends, lovely to sit in comfy seats, a lift for anyone needing it and I think the only thing missing is the mandatory ‘choc top’ on the menu, will have to suggest that to them haha.

To book tickets to Starbound, please visit https://starboundmusicaltheatre.com.au/.

Photographer: Georgie Parker

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