GISELLE by Victorian State Ballet

GISELLE

GISELLE Rating

★★★★★

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“Victorian State Ballet’s production of “Giselle” is a beautiful rendition of this most perfect of ballets. Considered as one of the greatest of romantic ballets, its romance and beauty has mesmerized audiences for hundreds of years. The story is retold through excellent staging, simple and direct mime, superb classical ballet technique and choreography which honour the spirit of this great classical work.”

I agree!

How excited I was to be invited back to see the Victorian State Ballet in action again at The Palais Theatre in St. Kilda last week. Though I, probably like others attending, have seen GISELLE quite a few times before by various companies, Act 2 in particular, remains a memorable ghost like experience unlike anything else and is my most favourite scene drop of any ballet.

The story of Giselle entails of course love, betrayal, tragedy; all the things that go with great ballets, but this ballet has an amount of difference I believe. Signature steps and combinations that Giselle is famous for are expertly executed by Janae Kerr dancing the principal role, and the wonderfully talented cast around her seize every opportunity to show us that ‘Giselle’ (first performed in 1841) is here to stay!

Janae, who has been dancing full-time since she was 14 in both accepted prestigious placement and then at a high professional level, has returned to Victorian State Ballet recently and this is my first time to see her dance the role of ‘Giselle’. She is so very graceful in all the usual ballet choreography including pirouette upon pirouette, but she surpasses anyone I have watched in the ‘mad’ scene as her hair is let down and she throws herself into this act of ‘’going mad’ before her lead character dies of a weakened broken heart. Janae exceptionally portrays Giselle at her best in-love and her horrific worst. We in the audience were absolutely transfixed.

 

The supporting cast matches Janae’s energy. I could easily repeat similar comments from my earlier review of VSB’s ‘Aladdin’ as they each take to the stage for ‘Giselle’. This extraordinary ballet requires them to be quite different in their roles, often more sombre in the narrative of ‘Giselle’, but their skill and execution is spot on the same as it was in ‘Aladdin’. When dancers can play varying characters so well, it is fun to see them again – sometimes taking on a complete opposite of what you saw them do last time.

The Corps de ballet is beautifully costumed again in this production; detailed effort obviously goes into their dressing and use of accessories. The girls all looked gorgeous, with some taking multiple roles throughout, they showed honest enthusiasm to be exactly where they were in the village scenes; laughter and sorrow as required communicating to one another being fully involved through every mimed movement. Then, all as ghostly spirits in white, they perfect a stunning second Act. Dancing in unison beside Giselle’s grave in the forest, frequently moving as one, they made the synchronization look effortless. Great work everyone!! (I truly appreciate how hard ballet dancers are working to make it not look like they are!)

A number of Pas de Deux feature in Giselle with different members of the cast and these parts are highlights for me especially. Coming from a ballroom background myself, I realize the effort of two people dancing together is never ever easy and requires dedicated practice to precisely nail even the simpler steps. It was probably me heard clapping loudest after the guys lifted, twirled and held partners steady, and the girls leapt into their partners’ arms with no fear and full trust. Bravo!

A thoroughly enjoyable evening! My cousin who came with me had not seen Giselle before nor knew the story, she loved it and so did her friend and her children (both boy and girl having learned ballet) we met whilst there. Another teen girl who told me ‘Giselle’ was her favourite ballet too.

I highly recommend Victorian State Ballet to every ballet lover and also to all who enjoy the dramatic effect of listening to classical music.

Check out upcoming shows at www.victorianstateballet.org.au

Victorian State Ballet has gone from strength to strength under the guidance of Michelle Cassar de Sierra (Choreographer & Co-Director) and Martin Sierra (Artistic Director). Having observed their progress from re-launch in 2015, it never ceases to amaze me that they took a passion for their art into a professional performing company and offers their lucky pre-professional students a chance to be a part of that company with shows like this one all year round.

Read more about the Directors and their dancers on the VSB website above and when you go to a ballet, don’t forget to buy one of their lovely colour programs. My program collection is one of my prized possessions since I was very young – I do hope shows continue to print them as they are the best keepsake.

CAST
GISELLE: Janae Kerr
ALBRECHT: Tristan Gross
MYRTHA: Maggie de Koning
HILARION: Felix Milewski
Peasant Pas de Deux: Daniel Sierra & Alana Puddy
Leading Willis: Lisa de Koning & Courtney Taylor
Berthe – Giselle’s Mother: Charlotte Jones
Bathilde – Albrecht’s bride: Maggie de Koning
Counte: Harvey Lyon
Wilfried: Thomas Spencer

CORPS DE BALLET
Giselle’s friends: Courtney Taylor, Belle Thorneycroft, Hannah Leong, Arisa Elliott, Jessica McAll, Stephanie Little-Hales, Katie Little-Hales.
Village dancers & Harvest opening: Emily Ditchburn, Lisa de Koning, Hannah Lyons, Kyralee Matthewson, Tiana Vella, Olivia Tassell, Elizabeth Heiss, Lillie-Ann McPhee, Connor Bevis, Reuben Hayman, Xander Vandenberg, Josh Steinke, Matija Prevolnik.
Royal Hunting Party and others: Annabel Kent, Jasmine Goldie, Mia Bostock, Hope Lakeland, Savannah Jonson-Clarke, Mikayla Urbanavicius, Lily Booker, Marika Nakama, SiHyeon Kim, Emelina March-Peach, Grace Kefford.

Instagram: @victorianstateballet

Victorian State Ballet studios are located in Bundoora and offer full-time training opportunities along with their professional company as well as holiday intensives and young dancer special role auditions. If you know a young dancer, please suggest they follow the Instagram above for future shows and updates.

To book tickets to another VSB Ballet coming up: https://www.victorianstateballet.org.au/tickets

Photographer: En Pointe Productions

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Mayfair: A New Musical – Board Games, Big Band Villains and Bona Fide Classics

Feature-Mayfair: A New Musical

What happens when an all-work-no-play man lands in an alternate dimension populated by characters inspired by classic board games? Roundhouse Theatrical Co. is bringing Mayfair: A New Musical to Melbourne audiences, redeveloping its 2025 Perth production, Monopoly: The Unauthorised Musical. We go behind the scenes to explore the new material, colourful characters and creative choices shaping this next chapter.

About The Musical – Mayfair: A New Musical

What is this musical about?

Very loosely, it’s about games!

An ‘all work, no play’ man from our world accidentally gets launched into an alternate dimension full of characters inspired by classic board games, and has to navigate this strange new place and try to make his way home.

What does this production bring to this musical that audiences may not have seen before?

This production is a redevelopment of our 2025 original work – ‘Monopoly: The Unauthorised Musical’, which debuted to great success in Perth. This remount was a great opportunity for us to go back and fix all the things we didn’t think worked about the original script + score, so it contains new scenes and moments that even our 2025 audiences haven’t seen!

Which number in the show is the one you cannot wait for audiences to experience?

Our show features a classic Disney-style villain, and her number (#7 – ‘Oh I Know’) is a swinging big band tune with a flashy dance break. Charmaine Gorman in the role of Mayfair (our villain) is absolutely chewing the scenery in this number, and audiences should love it.

What has been the most challenging scene or sequence to stage?

We have a staged sword fighting sequence that has been professionally choreographed by Scott Jackson, which our actors diligently practice before every rehearsal for safety and comfort. It’s a lot of effort and time, but the result is thrilling!

How does the music serve the story in this production?

I’m a big believer that every song in a musical should either explain something to the audience, or end with the lead character(s) in a different narrative or emotional place to when the song began.

Additionally, each character has their own musical style, theme, and motifs that turn up throughout the underscoring. It’s a very cinematic score in that sense!

What character in the show do you think will surprise people the most?

Baron Von Strategy always catches people by surprise and becomes our crowd favourite. The character gives the actor an opportunity to show off a really wide emotional range, as well as having a lot of the funniest moments in the show.

What is the emotional heart of this musical, and how have you approached it?

At the core of it, this show is about connecting with those around us through that open playfulness that we all have as children, but tend to lose somewhere along the way. The protagonist of the story starts out as an arrogant, sarcastic killjoy, and has to learn to reconnect with that side of himself.

What will people be humming on the way to the car park?

So many to choose from! There’s at least 6 musical hooks in the score that I think have the potential to become bona fide classics.

Who in the cast is most like their character, and who is least?

Akansha Hungenhally as a bookish nerd with a secretly big voice turned out to be the perfect casting for our Scrabble-inspired character Miss Wordsmith!

Charmaine Gorman’s transformation into the villainous Mayfair is by far the biggest shift. Charmaine is an absolute sweetheart off the stage and an absolute terror in this role!

What sort of person is going to absolutely love this show?

I think people from all ages and walks of life can find something to love here! Those who enjoy the silly and slightly absurd will probably find it extra special.

Is there anything else you would like to share?

Just a call to action! Please buy tickets and come see this show. I can confidently say it’s very polished and ‘complete’ as far as new works go, but all of that comes at a cost! We need to get people through the door so we can keep doing this. Come support the next big thing! You won’t regret it.

Our thanks for sharing the imagination and care behind Mayfair. Beneath its playful premise is a heartfelt invitation to reconnect with others and rediscover a little of the openness we so often leave behind in childhood. To support this new Australian musical and experience it for yourself, visit Roundhouse Theatrical Co. for tickets.

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Fiji Untold: A Captivating, Contemporary Journey Through Pacific Folklore

Fiji Untold

Fiji Untold Rating

★★★★★

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When a young girl is banished from her village under the order from the village chief – who happens to be her father, what is a girl to do?

Does she sit in submission, staying stagnant and stuck? Or does she long to fly, fly away, to discover her own adventures beyond the tight fortress of her village home?

The exploration of this story arc is quite common in nursery rhymes and fairy tales. Beauty and the Beast, Alice In Wonderland and even The Little Mermaid come to mind. For this is the journey of self-discovery. When a young girl longs to break free from the confines of her protective home.

In ‘Fiji Untold’, this arc is told via the beauty of Fijian contemporary dance, under a sea of misty blue and yellow light. Where a bright and cheery dance troupe of villagers sing and chant within a dreamy forest landscape. Through sharp, co-ordinated movements, they begin telling the tale of a local village girl Lagi, the chief’s daughter, who resembles an innocent young village princess dressed fanciful In a white and blue printed costume.

But things are not always so stagnant as they seem.

When Lagi dares to break the rules of the traditional Meke dance, and not follow vital instructions, things get complicated.

In repeatedly leaping and pirouetting like a ballerina; even as the villagers try to settle her energy down by lifting her on a giant mat, as if to contain her, she cannot be stopped. As free as a flying bird – her disapproving father and community are at a loss of what to do with her.

So, their choice is simple.

 

Her tribal clothing is removed. Her head bows down in shame. They banish Lagi to the bamboo forest and she runs straight into the unknown. A adventure all her own, where she meets a plethora of creatures great and small.

An old witch. A menacing, female snake. Mythical sticks held by creatures lure her over a makeshift ladder, straight into the realms of the underworld, where she falls to the floor in a spotlight of white.

But in order to learn her lessons, she must face some challenging scenarios. Namely, facing mythical creatures from Pacific folklore.

Firstly, in the spiritual form, she meets five majestically tall women on stilts, looking like giants overhead. Their beautiful costumes shimmer under red lights. A bit demonic and larger-than-life, keen to teach her their ways. Suddenly, mythical creatures appear and circle her, trying to put a spell on her. Another giant whispers in her ear. Slowly, she also transforms into a giant woman.

When her costume disappears, a male creature tries to attack her. She knocks him out, and the other creatures drop their weapons.

Lastly, we meet a colourful, pink-haired, shape-shifting iguana. But he is peaceful, handing Lagi two magical sticks that, culturally speaking, are embodied with mana—spiritual energy. The kind of Chi, a positive universal life force, that helps her realise she must correct her wrongs, discover her power and come back home with forgiveness in her heart.

Fiji Untold is a vibrant show to watch, blending traditional Fijian folklore with bold, contemporary dance and spiritual, mana-driven storytelling. With beautiful costumes featuring tribal touches of spiky-straw detailing, handwoven straw spear-shaped fans, ornate hairstyles and tribal bone necklaces.

These dancers are so skilled at create mystical shapes so effortlessly. Using ornately-made props and hand movements in synch, they can transform any scene into one of legendary beauty, featuring mythical animals and folkloric beasts.

Combining high-octane theatrics and moving scenes, Fiji Untold by globally-acclaimed VOU Dance Fiji is a beautiful, cultural extravaganza that would no doubt be enjoyed by many.

To book tickets to Fiji Untold, please visit https://voufiji.com/fiji-untold-show#fiji-untold-australia.

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Young Frankenstein

Young Frankenstein

Young Frankenstein Rating

★★★★★

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Frederick Frankenstein feels the weight of his family name like no other. With a gift for science, trying to distance himself from his grandfather’s experiments seems like an impossible task. However when he’s called to settle his grandfather’s estate and discovers his lab where it all took place, Frederick catches the bug to reanimate, just as Vincent Frankenstein did before him. With the help of his friends (and lovers), he awakens The Monster and, well, you pretty much know the rest. Except this time, the story is put to song, dance and repackaged as a sex comedy.

My dad has been begging me to watch this movie for years so I couldn’t believe my eyes when I saw this pop up at Theatre Works. This show is the perfect sell for me to go back and explore the rest of Mel Brooks’ hilarious filmography.

A delightful parody of both the musical and the classical horror genre, Young Frankenstein pokes loving fun at the tropes we all know; the blonde bimbo, the superficial wife, the old crone, the violent monster and makes them the stars of the show. This show somehow becomes a fabulous version of the very things it’s making fun of, with the same campy songs and witty lyrics like Brooks’ other smash hit, The Producers.

StageBugs Productions have amped up the silly and under Christian Cavallo’s direction, have layered jokes onto jokes, to keep you laughing the whole way through.

Not only hilarious, the cast delivers powerful vocals and incredible dance numbers that I did not see coming. The ensemble picks every moment to add to the bit, creating multiple focus pulling moments in the best way.

 

Juliet Nicholson as Inga was the star for me. Impeccable comedic timing, a beautiful voice and just the right amount of nudge-nudge, wink-wink in every action. Paired with Josh Direen’s Dr Frederick Frankenstein, the pair’s vibrant chemistry was totally charming.

Direen leads the show with ease. I loved the choice to create a new look for the Doctor; a clean cut, 1950s radio presenter vibe instead of the classic mad scientist look. It worked really well with Direen’s pristine energy and straight-guy role in the show.

Shannon Foley as Inspector Kemp and Harold The Hermit and Belinda Jenkins as Fraur Blucher each delivered standout performances in each of their big character numbers.

Joti Van Carlos Gore’s performances as The Monster was a real surprise. His physicality of the creature was hilarious, but especially so in his big number towards the end. I won’t give anything away, but this man can dance.

The set is strong, but with a few clunky opening night transitions felt slightly in the way at times. The funniest part of the show the stage was set with nothing but a horse drawn carriage, and a few ensemble members stepping into the role of passing trees and bushes.

Young Frankenstein is a masterclass in silliness. It’s a romp through a story you already know, with all the charm of an old Hollywood musical. Despite feeling familiar and comforting, it’s also a refreshing addition to the musical adaption world.

To book tickets to Young Frankenstein, please visit https://www.theatreworks.org.au/young-frankenstein.

Photographer: Matthew Chen

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