sydney

Roll up! Roll up! The Marvellous Elephant Man

Roll up! Roll up! For this is no ordinary show– The Marvellous Elephant Man The Musical is a colourful feast of sound and flair under the Sydney Spiegeltent at the EQ Moore Park that will keep you entranced.

The talented trio of writers and composers of this musical took additional roles onstage to showcase their versatility. Musical Director Sarah Nandagopan performed on the piano, Marc Lucchesi and Jayan Nandagopan acted and brought their instruments into the story via their characters.

The Marvellous Elephant Man brings us the story of John Merrick, a man who, in real life in the late 1800s, was the main attraction being paraded at the then-popular ‘freakshows’ in London. The musical breathes life into John’s story, and actor Ben Clark’s portrayal captures our hearts from the moment we see and hear him sing, most notably with the song “I Am Not An Animal”. In stark contrast to John’s kind heart and good nature is the dastardly wicked villain Dr Frederick Treves, played by award-winning actor Kanen Breen. In one scene with these two characters, Dr. Treves’ dialogue was so masterfully well-written and delivered with such malice it was heartbreaking!

Lighting designer Matthew Marshall did an outstanding job adding to the emotive drama in this scene. I noticed how his subtle choice of colour, blue – really highlighted how John was feeling. In another scene, the storytelling involved the most creative use of lighting and illusion I have ever seen on stage! You’ll know this scene when you watch the show; it’s the one with the strobe lighting!

The musical is layered with so many different elements – it’s difficult to pigeonhole The Marvellous Elephant Man into just one genre. There’s plenty of drama, mystery, and a possible love story between John and Nurse Hope, played by Annelise Hall, who created a character so sweet and believable you’ll fall in love with her too! Her singing was mesmerising.

Another major element of this musical was the side-splitting comedy woven into each scene. Writer and composer Marc Lucchesi’s theatrical debut is a standout show stealer. By playing three vastly different strong characters, complete with accents, he had the audience roaring with laughter with each song! The supporting cast were simply brilliant with their dancing, comedic timing and flamboyant costumes.

Some musicals stick to one time era. The songs in this musical were so cleverly composed that the soundtrack took the audience on a rollercoaster ride of songs, sampling being reminiscent of a 1920s bar to being at a vaudeville show to classic rock to being in Italy, and everything in between!

The trombone ‘elephant man’ motif, played by composer Jayan Nandagopan, created its own little story as it began the show with a sad elephant defeated stomp when we were first introduced to John Merrick. As the ‘elephant man’ began to gain confidence, so too did the trombone, becoming brighter in sound and tempo – such a wonderful way to communicate the character’s growth.

The Producer and Co-Directors Chris Mitchell and Guy Masterson have put together an outstanding cast and created a visual masterpiece with a huge voice. With each performance I am sure it is going places, up and away. When this musical is shown on Broadway, in the West End, and closer to home in our larger theatres, I will be so glad I got to be a part of its humble beginnings, on a small round stage in a bigtop tent at the Entertainment Quarter.

The Marvellous Elephant Man the Musical’s performance time is 2 hours and 20 minutes, including the interval time and proudly opened The Sydney Fringe Festival on September 1 2023.

Tickets are now on sale and showing at the Speigeltent Festival Garden – Sydney Spiegeltent The Entertainment Quarter from September 1 – October 1 2023

Evening performances 7.30pm Tuesday – Saturday; 7pm Sunday

Matinee performances 2pm Saturday; 1pm Sunday

Tickets: https://sydneyfringe.com/events/the-marvellous-elephant-man-the-musical/

This review also appears on It’s On The House.

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Classic Agatha Christie Whodunnit – The Hollow

Mention Agatha Christie to anyone, and you know you’re in for a classic Whodunnit mystery. With such a prolific author and playwright, there’s the usual expectation of interesting characters, intrigue, murder and the pointing of fingers.

The Genesian Theatre Company presents The Hollow, a play that debuted in 1951 and ran for 11 months in London. The director Molly Haddon, herself a very experienced Agatha Christie actor, has assembled a dynamic cast inside a historic Sydney building, The Genesian Theatre. Built in 1945, the theatre lent itself aptly to this time period with its grand wood ceilings and plush, heavy curtains to host this play.

The Hollow opens with three characters, Lady Lucy Angkatell (Penny Day), her husband Sir Henry Angkatell (Vincent O’Neill), and his cousin Henrietta Angkatell (Jess Davis), in the garden room of a wealthy English country manor, where the play is predominately set. They are hosts to their extended family for a weekend, and we are soon introduced to Dr John Cristow (Chad Traupmann), his wife Gerda (Emily Smith), Midge Harvey (Cariad Weitnauer), Edward Angkatell (Thomas Southwell) and Mrs Gudgeon (Emily Saint Smith) the housekeeper.

Adding to this full house, film starlet Veronica Craye (Alannah Robertson) arrives next door, and it soon becomes clear that love in this family is a tangled mess, and Dr John Cristow is right in the middle of it. Another love triangle is also at play, highlighting the follies of blind adoration.

A shot is fired from an assailant offstage, and we see one character fall to the ground. This scene was acted exceptionally well and was the close of the one-hour first act. The second act, running for one and a half hours, introduced Inspector Colquhoun (also played by Chad Traupmann) and Sergeant Penny (Natalie Reid), who lead an investigation into who committed this crime with a list of suspects forming in the audience’s minds.

Director Molly Haddon immersed the audience in the time period with her set design for The Hollow. It had a genuine 1950s post-war look, with careful touches such as round light switches, period vases, golden photo frames and even a magazine with 1950s film stars on the cover. I loved the painting that hung above the fireplace, which represented Ainswick, a childhood home of the cousins. One scene involving a round-dial telephone and a telephone operator (with appropriate lighting by Cian Byrne) gave us a nostalgic feel. The large floor to ceiling glass doors leading out to the garden provided the room with an open and spacious area which left the actors plenty of room to manoeuvre around the stage.

The costumes by designer Susan Carveth and the actors’ hairstyles were wonderful and reflected upper-class English society. The sound effects were effective and minimal, with the focus being on the music played through the ‘wireless’ – the songs being thoughtfully chosen to match the theme of the scene.

Special mention to Penny Day, whose character Lady Lucy entertained us with her comedic musings with well-delivered timing, Jess Davis with her portrayal of Henrietta, her complexity and depth of character apparent and Thomas Southwell, who played Edward, a meek and mild man with low self-esteem.

The Genesian Theatre is relocating to Rozelle after 70-plus years of entertaining the public with the arts. Go see The Hollow, as it’s one of the last chances to see a live performance in this iconic building.

The Hollow is playing at The Genesian Theatre, 420 Kent St Sydney from 19th Aug – 23rd Sept 2023; Friday and Saturday nights at 7.30 pm and Sunday matinée at 4.30 pm

This review also appears on It’s On The House.

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Eavesdrop At The Vatican – Pope 2 Pope

Hunters Hill Theatre performed the world premiere of award winning Australian playwright Melvyn Morrow’s latest play, Pope2Pope, on Friday 18 August 2023. It was a play with religious themes that treads the fine line between comedy and some difficult truths. The director Elaine Hudson and the company did so with finesse and steady balance, cleverly staying on this line.

Pope2Pope, as the name suggests, was set inside the Mother of the Church Monastery, in the Vatican Gardens. The set design was simple but effective, with a traditional large red sofa on a red luxurious carpet taking centre stage. This repetition of colour spoke to me about power play, whilst in contrast on the right of the stage there was the Vatican’s gardens, a calm green scene filled with grass, herb pots and vine walls.

This is the closest we shall ever get to being a fly on the wall overhearing the conversation between two popes – one current, one pope emeritus (a pope which has been retired) inside the Vatican. And it is a conversation the audience wanted to follow, which in time revealed the underbelly of the Vatican and the papacy and other surprising secrets.

Graham Egan, as Pope Emeritus John XXIV portrayed his character’s personality perfectly. He was visually upbeat and appeared purposefully naturally loose with his movements and speech. In opposition to this character was Pope Pius XIII, played by Christopher Brown. He presented his character well, often seated ramrod straight backed on the red sofa and cut a serious and commanding presence. Sharron Olivier played Sister Angelica and a special mention must be made to her authentic sounding Italian accent as well as some great facial expressions which conveyed her character’s innermost thoughts.

Pope2Pope also gifts the audience with a brief history lesson involving some apparitions from the past with interesting stories, their costumes adding to their authenticity. I was impressed with Anthony Hunt’s performance of a certain character from the country. In the retelling of his story, Anthony added some real heart to the play.

Throughout the performance, the flow of conversation between the characters and aptly timed body language spoke to the audience clearly. At times, I found myself nodding along and relating to the cultural symbolism portrayed and at other times I was laughing at it.

Just before you enter the theatre, there was a table with a newspaper front page, some solid hardcover books about the popes and some religious items on it. When I saw the table walking in, it served to pique my interest in the upcoming play.

When I exited the theatre doors, I paused there to read the article from The Daily Telegraph dated February 2013. The headline read, “FIRST PONTIFF TO RESIGN IN 600 YEARS. POPE QUITS”. A real piece of history to supplement this well-rounded play.

Pope2Pope is performing at the Hunter’s Hill Theatre at Club Ryde, 728 Victoria Road, Ryde between the 18th August and the 3rd September 2023.

This review also appears on It’s On The House.

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Clever, Creative and Eerie – The Turn of the Screw

The Turn of the Screw, written and directed by Tooth and Sinew’s Richard Hilliar (after Henry James) was a very clever and creative production.

An eerie atmosphere was established, from the moment the audience walked into the theatre through the mist to their seats. The preshow orchestral interlude, composed by sound designer Chrysoulla Markoulli purposefully used amplification and dynamics to capture my attention and left me with an unsettled feeling.

Whilst waiting for the show to begin, I got a subtle hint of what was to come by seeing the addition of something strange growing down from the ceiling onto the walls, it was creepy. These preshow elements caught all my senses to ensure a mysterious introduction to The Turn of the Screw.

The play was an adaptation of a well-known novella by Henry James and classified as a psychological thriller. A young governess is hired to supervise and take care of two children by their Uncle and is sent to live at an isolated property in the English countryside, joining the mansion’s housekeeper Mrs Grose.

It is here in the house where the governess experiences something unsettling, and the audience is first introduced to the idea that all may not be what it seems within this family and indeed, within the house itself and the surrounding grounds.

As the story progressed, so did the suspense. The underlying tension continued to mount as strange things involving the children occurred and we are left to question if the Governess, in her attempt to protect the children, is a reliable narrator.  There were some spine-chilling supernatural moments throughout the story, complemented by the lighting, sound and acting that made me shiver!

There was an effective use of costumes, set design and props to clearly define the era without explicitly telling the audience, in the late 1800’s. The colour palette of the set and costumes added to the authenticity and the mood.

All five cast members in the ensemble successfully pulled the audience directly into the show, with in depth believable performances. Each character had their own back story to unravel, and they did this superbly!

The Turn of the Screw was approximately 2 hours with a 20 minute interval.

Tickets are now on sale and is showing at The Seymour Centre from 21 July – 12 August 2023.

ADDRESS: The Seymour Centre, Corner City Rd and Cleveland St, Chippendale

TIMES: Wednesdays to Fridays 7:30pm; Saturdays 1:30pm & 7:30pm

BOOKINGS: https://www.seymourcentre.com/event/the-turn-of-the-screw/

or (02) 9061 5344

TICKETS: Full $49 / Seniors, Groups 8+ $39 / Concession, Under 35s $35

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