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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Six The Musical

Six The Musical

Six The Musical Rating

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1

Step into the royal extravaganza as SIX the Musical arrives in Melbourne, igniting electrifying emotions with its daring and empowering reimagining of history.

In the world of SIX the Musical, each of King Henry VIII’s six wives breaks free from the overshadowing presence of their infamous husband. Crafted by Toby Marlow and Lucy Moss, this contemporary, all-female, pop-infused production presents each queen as a bold and influential pop star. Instead of following a conventional musical storyline, each queen narrates her version of events, reclaiming her narrative through modern pop songs in a concert-style format.

Every time SIX the Musical graces Melbourne with its presence, I make sure to be part of the audience. Each show surpasses the last. It’s as though the queens inject a fresh burst of energy into every performance, making each one feel like the best yet.

The passion and excitement they bring to the stage continuously raise the bar higher and higher. This show is rich with clever dark humor that stems from the trauma and struggles of the six wives married to Henry VIII. The audience can’t help but get swept up in the whirlwind of this musical from the word go. Packed with non-stop action in just 80 minutes without a break, patrons are instantly drawn in, captivated, and then swiftly released back into reality.

In this production, you’re in for a royal treat with the incredible lineup of queens on stage, each vying for the title of the most hard-done-by. Kimberley Hodgson plays Catherine of Aragon, exuding power and resilience, and commanding the stage with regal strength. Deirdre Khoo breathes life into the tragic yet spirited Anne Boleyn, infusing the character with a sassy and unapologetic energy. Loren Hunter’s portrayal of Jane Seymour radiates tenderness and compassion, bringing a dash of heartfelt warmth.

Zelia Rose Kitoko shines as Anne of Cleves, delivering a powerful, bold performance that keeps you glued to your seat. Her stunning “red” costume reveal is a showstopper, adding an extra level of captivation to her already mesmerizing presence on stage. Chelsea Dawson’s rendition of Katherine Howard brings a fierce and competitive edge to the performance as she strives to outshine her fellow queens, boldly declaring her supremacy whilst singing, “I think we can all agree, I’m the best among these three.” Lastly, Giorgia Kennedy, portraying Catherine Parr, the queen who outlives Henry VIII, unites the queens with a blend of maturity and care, bringing a harmonious conclusion to this captivating tale of the six queens.

Six The Musical

While the queens take center stage, the true magic lies in the intricate details of the show. Emma Bailey’s tech-pop Tudor court design seamlessly blends the opulence of 16th-century England with a contemporary twist. This modern interpretation of historical aesthetics creates a visually stunning and engaging backdrop for the queens to shine.

The exquisite costumes, crafted by Gabriella Slade, are masterpieces, tailored to match the unique essence of every character and their historical background. They draw inspiration from images of the 16th century and infuse a modern twist, creating a blend of historical accuracy and contemporary appeal.

Choreography plays an essential part in this musical. Drawing inspiration from the unique stories of the queens, the pulsating music, and the powerful lyrics, Carrie-Anne Ingroulle captures the essence of each queen, skillfully blending various genres like hip-hop, rock, house, dance, and technical jazz to create a captivating dance spectacle that complements the energy and passion of the queens on stage.

The talented swings include Gabriella Boumford, Thalia Smith, Dance Captain/Swing Chiara Assetta, and Resident Choreographer/Assistant to the Director/Alternate Swing Cristina D’Agostino. The lighting (Tim Deiling) and sound (Paul Gatehouse) are perfectly executed. The orchestrator is Tom Curran, and the Musical Supervisor is Joe Beighton. The show is supported by the SIX on-stage band, including Music Director/Keys Claire Healy, Assistant Music Director/Keys Heidi Maguire, Kathryn Stammers on drums, Danielle Colligan on guitar, and Ann Metry on bass. This new and exciting company comes together under the helm of Australian Associate Director Sharon Millerchip.

Originally produced by Kenny Wax, Wendy & Andy Barnes, and George Stiles. Produced in Australia by Louise Withers, Michael Coppel, and Linda Bewick.

Long live the queens of SIX and the electrifying magic they bring to the stage! This is a fun show, and I will endeavor to see it again next time SIX the Musical is on tour.

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La Rondine (The Swallow)

La Rondine (The Swallow)

La Rondine (The Swallow) Rating

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1

The Victorian Opera’s production of “La Rondine” (“The Swallow”), written by Giacomo Puccini, was an incredible experience. This production featured the remarkable Australian opera singer Kiandra Howarth, who has not performed in Victoria for a long time. It is a special occasion as her 94-year-old grandmother will attend both of her performances to see her perform for the first time.

Kiandra Howarth played Magda, the titular swallow, and she was phenomenal. An Australian lyric soprano, her voice and acting were impeccable. Howarth graduated with a Bachelor of Music from the Queensland Conservatorium of Music in 2010. She then became a company artist at Opera Australia and is currently with the Staatsoper Hannover. Her portrayal of Magda was genuinely captivating.

Another principal character, Lisette, Magda’s maid, was played by Nina Korbe. An award-winning soprano, Korbe has appeared in Opera Queensland’s productions of “La Bohème,” “Die Fledermaus,” “Il Barbiere di Siviglia,” “Peter Grimes,” and Verdi’s Requiem. She has also performed as a soloist with Camerata – Queensland’s Chamber Orchestra, Queensland Ballet, Southern Cross Soloists, and the Goldner String Quartet. Korbe, a proud Koa Kuju Yanlaji Waka Waka woman, champions Indigenous voices and brings depth, humour and charm to her role as Lisette.

Won Whi Choi played Ruggero, the main love interest in “La Rondine.” Choi’s lustrous voice, elegant musicianship, and sensitive artistry have captivated audiences worldwide. He made his Metropolitan Opera debut in 2020 as Alfredo in “La Traviata” to rave reviews. He was set to return for productions of “Maria Stuarda” and “Les Contes d’Hoffmann.” Choi’s performance in this production was no exception; his portrayal of Ruggero was heartfelt and powerful.

The production itself was a unique blend of elegance and simplicity. The sets, with their stunning design, evoked a modern Paris that seemed to exist outside of time. The characters, dressed in contemporary styles that seamlessly melded elements from the 1950s to the 1990s, added a unique charm to the performance.

Attending a production at the Palais Theatre in St Kilda is always a mesmerising experience. The grandeur of the building, with its chandeliers, grand Art Deco architecture, and beautiful marble staircases, is awe-inspiring and complements the grandeur of the opera. It’s a stunning space that marries well with the art form, leaving the audience in awe.

One of the delightful aspects of Puccini’s work is his probable origination of the ‘meet-cute’ trope. ‘La Rondine’ revolves around love, set in a Paris where women dream of meeting a lover who completes them. The opera featured a classic meet-cute scene: a woman in a bar, pursued by multiple men, sits down with a lone man, pretending to meet him, causing the other suitors to leave. This charming trope, now a staple in Hollywood films, was delightful to see in its original form, entertaining the audience.

Puccini’s music, full of cascading trills and beautiful melodies, feels cinematic. His work often feels like classic Hollywood yet is timelessly modern, with sweeping, love-filled narratives. This production of “La Rondine” was a testament to his genius, a fantastic blend of music, narrative, and performance.

The Victorian Opera’s “La Rondine” was a truly outstanding production. With stellar performances by Kiandra Howarth, Nina Korbe, and Won Whi Choi, supported by elegant staging and the enchanting atmosphere of the Palais Theatre, it was an unforgettable experience that showcased the timeless beauty of Puccini’s work.

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Show Review: Melbourne International Elvis Festival 2024

ELVIS PRESLEY The Legend Lives On: 55 to 77

ELVIS PRESLEY The Legend Lives On: 55 to 77 Rating

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The 2024 Melbourne International Elvis Festival staged at the National Theatre in St Kilda offers a 3-hour-long time capsule, transporting Elvis fans back to the pinnacle era of star-studded rock n’ roll. The show is performed by five Elvis tribute artists descending on Melbourne from around the globe, each offering a unique portrayal of the dazzling American icon.

Moses Snow opened the production with vibrant charisma and a youthful glow symbolic of the early success of Elvis. Snow staged choreography unparalleled to any other performer of the night and invigorated the theater with his electric spirit. Snow aptly included “Blue Suede Shoes” in his set, which ultimately became one of the most memorable numbers of the night, and prepared the audience for further exhilaration.

Ted Torres closed the first act with a medley of songs derived from the 1968 ‘Comeback Special’. Torres performed a vocally powerful act, though the high number of hits performed was somewhat disproportionate to his crowd interaction resulting in a slight lack of connection. The artist radiated Elvis best in his ballad covers of ‘Memories’ and ‘If I Can Dream’.

Opening the second act was star-studded, all-round performer Jay Dupuis. Dupuis is the winner of several Elvis tribute accolades and is recognized as Graceland’s Ultimate Elvis Tribute Artist World Champion. Such distinguished achievements were on full display throughout his set, with highlights including “I Want You, I Need You, I Love You” and “In The Ghetto”.

Dupuis is adorned with a natural ability to charm and tease the audience, with impeccable improvisational ability to allure crowd members and create a genuinely magnetic experience. Dupuis was the first act of the night to hand out scarves as Elvis did throughout the 1970s, making him an instant fan favorite.

Bruno Nesci performed an enjoyable set with clear confidence and conviction as Canada’s first performer to make it to the Top 5 in the Ultimate Elvis Contest. Nesci conveyed genuine interest in his Melbourne audience and mastered the art of creating interpersonal connections through dialogue. “You Gave Me A Mountain” was particularly memorable for his strong vocal abilities and commitment to the iconic aura of Elvis.

David Lee closed the production with everlasting energy, impressing audiences with his ability to sustain momentum toward the end of the third hour. Lee candidly introduced his wife to the audience before memorably performing “Can’t Help Falling In Love”.

Overall, the show had moments of awe, excitement, and charm, but ultimately ran past its prime, and could have benefited from each artist performing a slightly shorter set. A curtain call of all performers would have worked well to increase the feel of a well-rounded Elvis tribute rather than encourage a comparative analysis of each performer. The show was also let down in part by inconsistencies in sound and lighting. A strange faltering light frequently distracted the show and microphone audio issues caused hassle for the performers, provoking ongoing rambling from the audience.

Besides some shortcomings, what was most special about the show was witnessing such commitment to the aura of Elvis, which embodied connection, charm, and seduction of the female gaze. The show overall had moments of genuine joy and lust which so wonderfully opened the world of Elvis to younger audiences, and celebrated the remembrance of fond memories for long-time fans.

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