Cats

Cats The Musical

Cats The Musical Rating

Click if you liked this article

The opening night of Andrew Lloyd Webber’s Cats at the Crown Theatre, Perth, delivered a polished, high-energy revival that showcased the production’s enduring strengths of choreography and crystalline vocals.

The long-running musical has been entertaining audiences since 1981 but for prospective patrons unfamiliar with Cats, don’t attend the show expecting a plot or even any dialogue. You will have a much better appreciation for it if you go for the exquisite dancing, singing and overall visual extravaganza. Cats is more a sequence of character portraits of the feline characters stitched together by a very thin storyline about a Jellicle Ball for all the Jellicle cats.

The show made more sense when I discovered that it was based on a series of poems from TS Eliot’s “Old Possum’s Book of Practical Cats” dating back to the 1930s. It is these poems that inspired the legendary Mr Webber to convert them into a musical.

I cannot fault any of the dancing or singing. The cast performed with remarkable precision and athleticism, sustaining demanding choreography. The unison work in the larger ensemble numbers was exceptionally tight. It is evident that the dancers are professional ballet and classical jazz dancers. The production’s success lies in the cumulative power of its choreography and vocal pieces rather than narrative complexity.

Bringing the cats to life are the dazzling costumes and richly detailed makeup which I was fortunate enough to see up close. Throughout the show, the performers would integrate themselves within the audience, purring, stretching and leaping up and down the aisles of the theatre.

 

 

The production’s scenic design embraces the junkyard setting, transforming the stage into an immersive, feline-sized world. An old oven, a rumpled shirt, car tires, these are rendered at magnified proportions so that the performers read unmistakably as cats in an oversized human environment.

The integration of car engine and police sirens sound effects and a sweeping “torch” effect as the cat ensemble scatter in hidden spots, transforms the junkyard into a living, reactive environment without relying on dialogue.

Gabriyel Thomas delivered a standout solo performance as the weary Grizabella The Glamour Cat, belting out the iconic Memory song.

Tim Haskayne was outstanding in his jazz ballet routine as the Magical Mr Mistoffelees who delivered a mesmerizing performance with impeccable control and grace.

I found it especially amusing and admire the dedication of one of the performers who remained on stage in character for the duration of the interval.

This staging of Andrew Lloyd Webber’s Cats operates with a first-class polish that flows with effortless precision. It is more a mixture of a ballet performance and a musical rather than a conventional musical and in its entirety a form of art to enjoy.

To book tickets to Cats The Musical, please visit https://catsthemusical.com.au/tickets/perth/.

Photographer: Daniel Boud

Spread the word on your favourite platform!

The Ride Of Your Life!

Ride the Cyclone

Ride the Cyclone Rating

Click if you liked this article

1

If you blended the dark wit of Heathers with the existential charm of The 25th Annual Putnam County Spelling Bee, you might come close to capturing the wild, weird brilliance of Ride the Cyclone, Sydney Musical Theatre’s latest production. This cult-favorite musical, written by Brooke Maxwell and Jacob Richmond, spins a tale that’s equal parts carnival nightmare, teen talent show, and philosophical meditation on what it means to live.

The premise is audaciously simple: six teenagers from the St. Cassian Chamber Choir die in a freak roller coaster accident. Now, trapped in a limbo-like carnival, they are offered one miraculous chance, by the mechanical fortune-teller Karnak, to sing their stories, and for one of them, to return to life. What unfolds is a haunting, hilarious, and unexpectedly moving journey through identity, regret, and the fragile beauty of being human.

Each number is a genre-hopping revelation. Ocean O’Connell Rosenberg’s biting self-importance (What the World Needs) crackles with manic energy, while Mischa Bachinski’s hard-edged rap ballad (This Song Is Awesome) hides a tender heart beneath its bravado. Jane Doe’s ethereal lament (The Ballad of Jane Doe) stops the show cold; a ghostly aria of lost memory that would feel at home in Phantom of the Opera’s darkest corners. And then there’s Constance Blackwood’s tearfully exuberant Sugarcloud, which blossoms into the musical’s emotional core: a celebration of joy reclaimed after despair.

 

 

Certainly a highlight of this production is the impeccable singing of the cast. Amira Clark as Ocean and Raven Swinkels as Jane Doe are absolute vocal standouts. Kielle Murillo as Constance and Xion Jarvis as Mischa display excellent comedic skills. Andrew Read and Lex Sywenkyj have the audience in stitches during their moments on stage.

The staging is a visual feast of carnival lights, decaying grandeur, and eerie automaton choreography. The ensemble choreographed by Elise Simpson works like a finely tuned ride mechanism: precise, kinetic, and emotionally fearless. Director Ssarah Shanahan has embraced the absurdity of the musical without losing the show’s heart, letting the humour sharpen rather than undercut the poignancy of the thematic concerns.

By the final reprise, Ride the Cyclone well and truly had the audience in its spell. It’s a production that dares to find joy in tragedy, laughter in death, and life in limbo. Beneath the spectacle lies a message that lingers: we are all, for better or worse, passengers on the same unpredictable ride.

To book tickets to Ride the Cyclone, please visit https://www.sydneymusicaltheatre.com.au/.

Photographer: Althaia Frost

Spread the word on your favourite platform!

Urinetown, The Musical

Urinetown, The Musical

Urinetown, The Musical Rating

Click if you liked this article

The name Urinetown may put some people off but it’s all part of the humour in this satirical comedy musical which delivers a powerful message on greedy corporations, capitalism and environmental sustainability.

Directed by Andrew Baker, Urinetown is the story of a town in which a devastating drought has led a government-enforced ban on private toilets in an attempt to preserve water usage. The population must now pay for the “privilege to pee” at public toilets. These public amenities are owned and operated by Urine Good Company (UGC).

As in every city, there are good areas and bad areas, Amenity 9 is the worst of the worst. Here, the down and out-of-luck residents, scramble each morning and evening to find enough money to pay for the usage of Amenity 9 toilets. Urinating and defecating in public are strictly against the law but those who can’t afford to use a public amenity, it’s their only option. If caught, they are sent to “Urinetown”. However, it doesn’t take long to figure out that Urinetown is not an actual town.

When Old Man Strong is hauled away to “Urinetown” his son Bobby Strong leads the residents on a revolution against the government and the corporations, in particularly UGC.

 

 

After crossing paths with the good-natured but naive Hope Caldwell, he discovers she’s the daughter of the UGC’S tyrannical and money-hungry CEO, Caldwell B. Caldwell but his love and affection for Hope does not deter him on his mission to bring about social equality and justice, and most importantly, to pee for free.

The concept of the musical is based on the idea that “people multiple faster than their resources” from the British economist, Thomas Robert Malthus’ (1766-1834). The play takes that idea one step further with drastic measures in place for preservation of water resources.

Although Urinetown is a cautionary tale set in the near future, the music, the costumes, even the manner in which they spoke and overall feel of the musical gives off strong 1930s prohibition era vibes.

In reality, charging to use a public amenity is not so unusual especially in Europe and so it was this pay-per-use toilet that inspired writer Greg Kotis to create Urinetown.

The whole cast delivered a phenomenal first-class performance. Izzi Green stood out with a stunning vocal performance.

Urinetown is such a clever satirical musical. I particularly found funny the flashback scenes with Old Man Strong and Tiny T.
Officer Lockstock and Little Sally act as narrators throughout the musical and their interactions are hilarious.

Urinetown is currently playing at the Liberty Theatre in Perth, and it’s a brilliantly funny satirical musical. It’s sharp commentary on sustainability and corporate greed feels more relevant today than ever before.

To book tickets to Urinetown, The Musical, please visit https://www.westernskyprojects.com.au/.

Photographer: Mark Flower Photography

Spread the word on your favourite platform!

Night of the Living Dead! The Musical! Comedic Camp and Spooky Spoof

Night of the Living Dead! The Musical!

Night of the Living Dead! The Musical! Rating

Click if you liked this article

3

Adapted from George A. Romero’s seminal 1968 zombie film, Night of the Living Dead! The Musical! is an edgy and unique rock musical from Ghostlight Theatre Co., hilariously following a group clinging to safety – and each other – after a zombie apocalypse. Written and composed by Jodan Wolfe, an acclaimed New York-based creator and performer, the calibre of the material is immediately evident, with clever, catchy and well-crafted musical numbers and polished choreography working seamlessly with a tight, fast-flowing and comical book. EvilCorp Horror Maze provides the perfect, unorthodox venue to this singular and very entertaining show, creating a sense of immersion and slight claustrophobia, that both sets the scene and augments the show’s themes. I can also highly recommend a shot of “Demon Semen” on your way past the bar.

Director Yasmin Elahi is an impressive creative force, delivering bigtime here – with responsibility for direction, set, costumes, lighting, special effects – and everything in between. Excellent use is made of the compact space, creating interesting shapes and well executed scene changes, while sharp timing of lighting queues is also notable. Further, the live band is a wonderful addition, building atmosphere and exuding effortless cool under the helm of Musical Director William Pipe.

The talented young ensemble cast excel in all facets of their performances – singing, dancing, acting – and flesh-eating. All have impressive performance resumes already, with immense promise of more to come. Alexander Graves is well cast, especially as Ben – a ladies’ man with high self-esteem, with the calm confidence and charm to pull it off. As Barbara, Aimee Segal leans into the sixties send-up as well as any, sweetly naïve with just the right amount of extra. Graves and Segal have good chemistry together onstage and bring entertaining range and incongruity to the show – i.e., saccharinely sweet, whilst summoning Satan.

 

 

Erin Lowry is a standout, breezing charismatically through multiple roles with effortless versatility. In turn nasty and nice, Lowry handles her quick costume changes well and gets some of the heartiest laughs on opening night, especially during the News Broadcasts. Patrick ‘Az’ James is similarly eye-catching in his roles, bringing nuanced mannerism and precise delivery. His performance of ‘Dan the Science Man’ is particularly memorable, impeccably timed and rhymed.

Aden Lowry is engagingly likable, offering commanding presence and a knack for accents and impressions. I’m unsure whether Lowry deliberately modelled Harry’s voice off of James Stewart – but the likeness is striking. Meanwhile, Molly Parker’s hard-drinking Helen brings mischief and endearingly inebriated indifference to the plays higher-stakes situations. She really just needs The Juice. Helen feels somehow more modern than the show’s late 1960’s setting, although nothing is lost for this, where strict historical adherence is unrequired, and may even be intentionally ignored.

While the singing was very good overall – especially the group harmonies – there were a couple of audibility issues, flat notes, and moments where vocal levels were drowned out by the band – but these are forgivable opening-night bugbears, which will no doubt be resolved by the next performance. Overall, Night of the Living Dead! The Musical! is an extremely funny and high-standard show, serving comedic camp and spooky spoof, which was voraciously eaten up by an appreciative audience of the undead on opening night.

To book tickets to Night of the Living Dead! The Musical! , please visit https://www.trybooking.com/events/landing/1452872.

Photographer: Alan Burchill

Spread the word on your favourite platform!