The Marvelous Wonderettes by the Maitland Musical Society captures all the kitsch and fabulous fluffiness of 50s frocks, with costuming, props, and dialogue dragged directly from the past.
The show draws the audience in as we watch the “award-winning” (hey, third place is still a win) prom singers devolve before our eyes. Their high school angst-filled youth is captured beautifully in each individual character—and individual they were—each being unique and well set apart from the others.
The actresses really did the girls’ characters justice, never breaking character despite the numerous bouts of audience participation in the show. Due to their commitment, you will undoubtedly be able to recognise characters from your own high school days, regardless of whether that’s a good thing or not…
The music features toe-tapping tunes with popular hits from ‘way back when’ and some lesser-known ones for those who want to experience some new songs from the era. The cast had a good blend of voices with each other and the music, though they were occasionally overpowered by the live band, who sat onstage with the cast and also got into the show, dancing along with their own tunes. Their presence really adds to the live prom feel.
There were a couple of minor tech issues, including mics turning off and lights being slightly off cue, but for their opening performance, some teething issues are to be expected, which will no doubt be streamlined as the season progresses.
There are some strobe lighting effects used multiple times throughout the show, so be prepared lest you be caught off guard. Kudos to the wardrobe team, who created colourful costumes perfect for the era and the characters; the wigs themselves were almost scene-stealers!
Finally, the venue and staff were just amazing, offering homemade snacks as sweet as the Marvelous Wonderettes would like you to think they are. Overall, it was a marvellous experience, and I applaud the Maitland Musical Society for putting on such an amazing, entertaining show.
The show runs for only one more week with sessions as follows:-
Sun 2nd June 2pm
Fri 7th June 7pm
Sat 8th June 7pm
Sun 9th June 2pm
Please don’t miss out, and when you get there, don’t forget to take a selfie at ‘The Prom’!
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.
The Princess Theatre was packed to the brim for the grand opening of Andrew Lloyd Webber’s Sunset Boulevard Musical. After nearly three decades, this reimagined production, presented by Opera Australia and GWB Entertainment made a triumphant return to Australia.
The musical premiered in 1993 at London’s West End and later that year in Los Angeles, receiving solid ticket sales. The Musical won an astounding 7 Tony awards in 1995 including best book, music, and lyrics awarded to Don Black, Christopher Hampton, and Andrew Lloyd Webber.
Sunset Boulevard is a captivating exploration of the darker side of dreams and the consequences of chasing them in the brutality and glamour of Hollywood. Taking the essence from the original 1950s Billy Wilder film and under the astute direction of Paul Warwick Griffin, this classic Noir musical weaves together satire, melodrama, and comedy into a mesmerising visual and auditory feast.
Narrated posthumously by the main protagonist, Joe Gillis, we are immersed in his sardonic flashback on the price he pays for a lavish lifestyle and fame. Through his eyes, we witness the tragic demise of a man drawn into the twisted delusions of Norma Desmond, a once-glamorous silent film star whose obsession with youth, stardom, and unrequited love leads her down a path of insanity.
The stage design in Sunset Boulevard captures both the allure and the shadows of this story. The incorporation of technology is truly ingenious, like at the start of Act 1 when the stage is completely engulfed by a lifeless body floating in a pool. The set centers around a magnificent gothic Hollywood mansion, featuring rich, dark embellishments illuminated by flickering candles, creating an atmosphere of opulence, drama, and tension.
The messages and themes in the musical are beautifully supported by the well-thought-out dramatic lighting that intentionally guides the audience’s attention. The standout closing scene, when Norma plays out Salome’s wild dance and finally receives the desperately-desired attention on “stage” is made powerful with the use of projections and handheld cameras as she stares directly into the the lens.
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Likewise, the contrast in costume design between the vibrant, aspiring Hollywood stars and the lavish, nostalgic outfits worn by Norma beautifully reinforced the underlying message of Sunset Boulevard. It symbolized the industry’s tendency to discard old stars while embracing the new.
Returning to the theatre for the first time in 30 years, Sarah Brightman stars as the larger-than-life diva role of Norma Desmond. As she graces the stage, the audience seems enthralled by her almost regal aura. Brightman has an impressive history in theatre and is famously remembered for her portrayal of Christine Daaé, in Andrew Lloyd Webber’s “Phantom of the Opera”, a score that was originally written for Brightman. However, whilst she looks the part of Norma, her delivery feels somewhat subdued, and her articulation, at times, unclear.
Joining Sarah is Australian actor Tim Draxl who plays Joe Gillis. He has an engaging presence and a voice that effectively communicates his character’s emotional journey. He morphs from an ambitious and frustrated screenwriter to a man with conflicted feelings towards Norma, a man in love with Betty Schaefer, and then an observing narrator. Norma’s loyal butler and former husband, Max Von Mayerling, is portrayed by Robert Grubb, a well-known name in Australian theatre. His stage presence gives a sense of authority, sophistication, and loyalty, mirroring his years of service and mysterious relationship with Norma. The young ambitious screenwriter who became Joe’s love interest, Betty Schaefer, is played by Asheligh Rubenach. She is delightful in the role, effervescent and sweet, demonstrating a fine contrast to the fading star, Norma. The overall theatrical experience is richly enhanced by the combination of Lloyd Webber’s brilliant score and a live orchestra under the masterful direction of Paul Christ.
The cast of Sunset Boulevard is rich with an abundance of talent. Theatrical performer Jarrod Draper playes the role of Artie Green, Betty’s fiancée. Paul Hanlon and Troy Sussman respectively play Cecil B DeMille and Sheldrake. The brilliant ensemble cast also includes Regan Barber, Amy Berrisford, Billy Bourchier, Campbell Braithwaite, Benjamin Colley, Grace Driscoll, Madison Green, Peter Ho, Leah Lim, Mary McCorry, Charlotte Page, Morgan Palmer, Caity Plummer, Taylor Scanlan, Tom Sharah, Lisa Sontag, Riley Sutton and Dean Vince. Set and Costume Design by Morgan Large. Choreography by Ashley Wallen and Musical Supervision by Kristen Blodgette.
Sunset Boulevard remains relevant today where people are obsessed with celebrity culture, the pursuit of success, the price of living in a world driven by illusion, and the desire for validation. Other themes include aging, loneliness, and the loss of relevance, they each speak universally to the human experience.
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.
This is the 60th anniversary year of CLOC Musical Theatre (formerly Cheltenham Light Opera Company) and president Ric Birkett is beaming proud of Billy Elliot The Musical.
I always thought this show was based on a true story, but to my surprise it is fictional. However there would be many boys in dance classes around and many successful male dancers worldwide that could totally relate to this script in more ways than one. Being accepted as a male dancer certainly has its challenges and though it has improved immensely in recent years in genres such as hip hop, tap, jazz and commercial, there are still not a lot of boys taking up ballet like the character of Billy.
There would only be a handful of boys who could even play this role in Melbourne and two of them are on stage here in their first show with the CLOC production team, being Lukas Elliott (his real last name) from Victorian College of the Arts Secondary School and Sebastian Sero having trained with the The Australian Ballet School. I saw Lukas (and yes, he’s thrilled to be playing his namesake even though it is spelled differently) and he was a standout for his acting ability too. This show is all about Billy the whole way through, it’s demanding but a dream role for a young boy who loves to dance!
Set in the 1980s at the time when the closure of the North England coalmines saw the conservative government of Margaret Thatcher take a particularly vengeful and confrontational path, the language in the show takes “it’s OK to swear in art” to a whole new level! Being honest, it was a bit of ‘shock therapy’ as I settled into the atmosphere, but as the show goes on you realise the script writing does portray exactly how such a community would speak in this situation, so don’t worry, you get used to it and will likely laugh at a lot of quipped lines.
Billy’s father is played by returning loyal CLOC member, Chris Hughes. Seventeen years after his last show with CLOC, he’s a natural in acting the tough guy typical miner who does not want to see his son become a dancer, at least not at first. He does come around eventually after a dressing down from Billy’s secret ballet teacher played by well-known Melanie Ott in her 10th show with the company, but not before his other son, Billy’s older brother who is exceptionally characterized by Joshua Sumner, gives every reason under the sun not to allow Billy his chosen path.
This show introduces a ton of new talent in the ballet girls, all in their first show with CLOC and they are everything from funny to cute. The high pitched screaming as they run onto stage was probably not unlike what their parents heard at home when they got a spot on the cast. It’s a coveted place to get into one of CLOC’s shows and of course there are no other shows where this many young accomplished dancers get to twirl around, be silly and act like they’ve actually never danced a concert in their life, which in reality is far from truth. In particular, it was the chance of a lifetime for Emily Bon-Fuller and Isla Everett to play “Debbie”, the impertinent daughter of Billy’s dance teacher. I saw grade 6 student Emily who can definitely act with sass!
Billy’s close friend is played by youngsters Angus Hutchinson and Harrison Lloyd both also in their first CLOC show. I saw Angus and he was an absolute delight to watch, he must have had a lot of fun in this role and he surely has the most fun dance number with giant dresses and Billy by his side. Again, these boys can dance!
A shout out to “Grandma” played by Barbara Hughes, who has worked for almost 50 years in non-professional theatre but was cast in the ensemble as the Grandma cover in the last professional Australian touring production of Billy Elliot, cut short by COVID, so in this show she finally got her chance. Her character calls it like she sees it, something many a Nana can get away with. Age gives you that right.
Billy’s mother (deceased) makes appearances in his mind by Elise Stevens and you can’t help but envisage any child’s lost parent watching on from Heaven to see their child go for their dreams.
The amazing Ensemble truly makes the show. There is so much energy on stage. It is loud! It is mining! It is teamwork! In the audience you feel like you are part of the action, and heads up to the choreography skills that managed to have so many people on stage not bumping into each other (unless it was on purpose with fists ready).
Billy Elliot will appeal to anyone really. It’s got enough manly guts in it to take your hubby (even though he doesn’t like musicals) and enough softness to reflect upon standing up for your work colleagues, helping the cause about what you believe is right for your community and above all, supporting your children’s goals.
I wonder if there was a “real” Billy Elliot in that mining town, who perhaps just didn’t get the chance to shine like this show does. I hope it inspires other boys who like to dance to try ballet. I hope it is a reminder that boys dance too. The world needs more dancing.
Congratulations to the Direction trio of Lynette White, Chris White, David Clausen-Wisken, and the entire CLOC team, this show is superbly executed, so fight your way to a seat for one of the last shows coming up!
Tickets 10-25th May via www.cloc.org.au
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.
Ghostlight Theatre Co. is a community theatre group that enjoys pushing boundaries. Their latest offering, Blood Brothers, is a horror-tinged romp through 1960s England.
Blood Brothers is written by playwright Willy Russell, who is also the author of Educating Rita. The plot follows twin brothers, Eddie and Mickey, who split at birth and are raised in two different class spheres in the north of England, with consequences that rock their community.
The show’s main cast was mostly quite young and gaining valuable experience from the more seasoned actors in the crew- and they were clearly having a fantastic time on stage.
A standout performer with an absolutely gorgeous voice was Elissa Holswich. She merrily played the devilish narrator alongside a host of other minor roles with flair. Her voice is outstanding and such a highlight of the show.
The relationship between the neighbourhood children was both fun and well choreographed, with the show’s chorus shining in several song and dance sequences. The audience was also able to sympathise with belaboured single mum Mrs Johnston, played by Hannah Davis.
This is a long show, with a run time of almost 3 hours, including intervals. However, you’ll enjoy Blood Brothers if you enjoy musicals, especially those with some supernatural flair and 1960s themes and costumes.
It is currently showing at Theatre 102 in Redcliffe until May 4th, 2024. There is a small bar with snacks and drinks on-site, as well as plenty of parking.
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.
