Monkey Baa wonders: “Where is the Green Sheep?”

Where is the Green Sheep?

Where is the Green Sheep? Rating

★★★★★

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1

Making brilliant live theatre for small children is tricky, but Monkey Baa make it look easy.

A review of “Where is the Green Sheep?” at The Coliseum Theatre, Rooty Hill.

Small children are the best audiences in the world but also toughest. They don’t clap politely. They don’t pretend to enjoy themselves if they’re not having fun. They will just get up and wander off if they are bored. There was no danger of that during Monkey Baa’s Where is the Green Sheep?

“Where is the Green Sheep?” is a beloved picture book, a modern classic created by Mem Fox and Judy Horacek.

So, how do you adapt a treasured children’s picture book into an immersive visual theatre experience?

You’ve got to think about the size of the stage and the size of your audience. The Coliseum is a very big stage, and the stalls were crowded with hundreds of tiny children, slightly bigger children, and their grown-ups. That means you’ve got to fill that space with wonders. Think big!

You’ve also got to work out how you’re going to make the audio work. Monkey Baa wisely decided not to mic up any of their performers. Each of the three performers got to focus on puppeteering, dancing, movement and miming. The audio throughout is a bouncy mix of sparkly original music and lines read aloud by children from Bankstown West Public School.

The stage is a lovely green field with round hills and a big arched screen in a hill for projected animations. Colourful props are carried or rolled on and off stage throughout the show.

The big projection screen is a mixed blessing. Sometimes the interaction of the screen and puppets works brilliantly, for example with animated splashes for water for the Bath Sheep.

 

 

But it was interesting to watch and listen to the reactions of the children in the audience. Their response switched dramatically between animations projected on the screen and live puppetry on the stage. An animated sheep flying across the screen was watched, like it was a movie in the cinema or an animated show on the TV or a phone. No interaction. Just consuming it like filmed media. The reaction to the real live puppet sheep and live performers was completely different. Happy shouts and interaction, clapping and giggling. The difference was obvious from my seat in the audience.

The animated projections added something beautiful when they enhanced the live puppetry. A live sheep puppet flying a kite on screen. The moon and starry night sky. Rain falling. The interior of the circus tent. This brought the scenery alive. But an animation of a sheep? It’s no longer alive and real.

This was most striking with the Near Sheep and the Far Sheep. The Near Sheep was fully projected on screen, duplicating the pages of the picture book, but with the book, when the Near Sheep fills the page, it does look like that sheep is near to the reader. On the big screen on stage that sheep became the Gigantic Sheep, scaling up bigger and bigger until it filled the whole screen, looming over the three performers like Sheep-zilla.

In comparison the simple effect of the Far Sheep being taken off stage by a puppeteer and up the aisles to the back of the audience in the stalls brought whoops of laughter and instant understanding. The Far Sheep was far away from the people on the stage.

The sheep puppets, made by Kay Yasugi, are fabulous. Big, soft and squishy with some sparkles in their wool that catch the light. The three performers, Ebony Tucker, Michael Ho and Paul Grabovac, are absolutely world class.

Highlights? The Bath Sheep, the Rain Sheep and the Far Sheep.

The simplicity of a performer blowing bubbles was met with a huge cheer of ‘bubbles!’ from everyone and the Bath Sheep, splashing and being dried with a towel had the audience in stitches.

The Rain Sheep is beautiful and colourful, dancing around a lamppost and opening an umbrella, in a woolly tribute to Gene Kelly in “Singing in the Rain.”

Knitted hats off to everyone at Monkey Baa, with special mentions to director and writer for the stage Eva Di Cesare, and puppetry director Kailah Cabanas.

Monkey Baa’s adaptation of “Where is the Green Sheep?” is an absolute delight that everyone will love.

Monkey Baa’s “Where is the Green Sheep?” is touring New South Wales, Tasmania and the ACT.
https://www.monkeybaa.com.au/shows/where-is-the-green-sheep

To book tickets to Where is the Green Sheep?, please visit http://www.monkeybaa.com.au/shows/where-is-the-green-sheep.

Photographer: Robert Catto

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This Talent Is Not Normal, Not Even Next To It… It’s On Another Level Altogether!

Next To Normal

Next To Normal Rating

★★★★★

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6

First of all, the auditorium at Greenhalgh Theatre is amazing. I wasn’t expecting that at a high school. We noticed the classic red theatrical seats with the contrasting pine paneling, and then zoned in on an epic set. With a lounge area stage right and a home bar to the right. In the middle you first think you are clapping eyes on the perfect family kitchen, and soon notice the cracks and wonkiness. Not normal, but next to it.

It’s a quietly brilliant piece of design, and it sets up the entire emotional landscape of Tom Kitt and Brian Yorkey’s extraordinary musical before the overture begins. Above it all, a jaunty window frames the pit orchestra in full view; a choice that pays dividends throughout the night, not least because conductor Tom Borbilas has such a smooth, unhurried way of pulling everything together that watching him became its own quiet pleasure.

Director Sarah Shanahan’s note in the programme speaks of this show as a genuine healing journey for her, and that care is evident in every aspect of the production. The opening number establishes the Goodman family’s “perfect” facade with precision with each performer locked into their role in the dynamic, every smile doing a little too much work.

Izzy Tilden as Diana is the gravitational centre of the evening, and the performance is exceptional. Tilden navigates the full emotional spectrum of a woman locked in a long battle with her mental health delicately demonstrating the manic highs, the medicated numbness, the moments of devastating clarity, with intention and artistry. The depiction of what it feels like to be flattened by pharmaceuticals is handled with particular care; Tilden finds the absence of emotion as precisely as the presence of it. And that belt. The singing in this production is something else entirely, but Tilden’s voice is a force.

 

 

Simon Donovan as Dan anchors the family with a restrained anguish that only cracks when it absolutely has to, and the harmonies between father and son are among the most affecting moments of the night. Raven Swinkels is magnetic as Natalie, bringing a raw energy to Natalie’s fight to meet everyone’s expectations while figuring out who she actually is. The solo that unpacks this is heart-wrenching in the best possible sense. Nye Morrison as Henry; the friend, the hopeful lover, the only one who seems to truly see Natalie, finds the gentle persistence of that role beautifully, and the chemistry between Morrison and Swinkels carries us right through to the curtain call.

Hugh Arthur brings a quiet, specific presence to Gabe, and the mother-son harmonies are also sublime. Brayden Macfarlane-Walker as Dr. Madden/Dr. Fine brings nuance to both characters and also creates a unique chemistry with each character they interact with.

The ensemble work is strong throughout, and the pit (led by Borbilas with Kai Azoum, Hayden White, Alana Wood, Daniel Enriques, Nick Drescher, Dylan Maclean and Zac Nisbet) moves in genuine sync with the performers on stage. Sarah Shanahan’s lighting design, alongside the projections, is fluid and responsive; smooth when it needs to be, deliberately fractured when it doesn’t.
This production of Next to Normal is powerful and heartwrenching. It asks hard questions and sits with them rather than rushing to answers. Leaving us to continue to ponder which is worse… the symptom or the cure? That this company has staged it with such emotional intelligence and technical ambition is genuinely impressive.

Do see it. And bring tissues. You’ll need them.

To book tickets to Next To Normal, please visit https://www.sydneymusicaltheatre.com.au/.

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Deal Me In’s Beautiful Chaos

Deal Me In!

Deal Me In! Rating

★★★★★

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7

After a brisk walk along the piers at Dawes Point with nothing to guide us but Google Maps and pink lights in the distance, we stumbled into the Rebel Theatre for the final night of Deal Me In!, a “glitzy Las-Vegas style dance cabaret featuring some of Sydney’s best variety artists!”

Under the guise of a simple game of poker, Deal Me In! follows a group of hapless players through their game as it descends into chaos, flirtation, and sleight of hand. The 90-minute cabaret effortlessly maintained a perfect balance of comedy, storyline, circus, and glamour, with hilarious moments of audience participation that kept the room engaged from beginning to end.

Walking into a lush theatre, the incredible mood lighting and show logo displayed on the curtains perfectly set the scene, alongside a killer pre-performance playlist. As the lights went down, singer Vivienne Stone (Songbird Siren) made herself known at the back of the audience, floating down the stairs towards the stage in a glittering silver corset and star headdress.

We then met Frankie St. James (Zak Vasiliou), a self-proclaimed Short King, who kept the show moving seamlessly between acts with stand-up, Pringles-themed ASMR, and more. He also ran an audience-wide competition, where poker chips were handed out based on participation with the individual holding the most chips at the end of the show receiving a prize. This really made the show stand out, and I enjoyed how it encouraged the audience to participate more without pressure.

Philipe le Scripte (Courtney Robinson) was the first solo act of the evening, dancing around the stage to “Smiling Faces Sometimes” by The Undisputed Truth in an electric red suit, with trousers that unzipped up the sides and a hidden plushie snake.

 

Following in quick order was a flirtatious swing dance between Theo Sparkes (Justin Sacco) and Daisy Fontaine (Alanna Hocking), who stunned the audience with their effortless spins and flips. Sparkling under a pink spotlight, Lola Champagne’s (Nicole Aspinall) attempt to give a reading to a member of the audience went astray when she pulled the Death card. She escaped to the stage for an incredible burlesque number that began with her spinning out of a skirt and ended in a life-sized martini glass, all under the same pink spotlight. Unfortunately for Lola, she had accidentally brought her Tarot cards to the poker table instead of playing cards, and thus was forced to fold.

Frankie returned as a masterclass of scripted improv as he skillfully and hilariously foiled a front row member’s attempt to pilfer Lola’s skirt. After the theft was averted, he took someone backstage with him while Vivienne taught everyone else a dance. Frankie returned with his audience volunteer dressed up as Elvis Presley, and I have to give her so much credit for her enthusiastic and immediate commitment to the role.

Vivienne’s solo consisted of a jazz ballad cover of Poker Face by Lady Gaga, before Theo Sparkes returned for a tap number that featured a surprise – a seventh poker player! (Cooper Cossettini)

Affectionately dubbed as “Sound Guy” by myself, Theo and the surprise cast addition engaged in friendly competition through a synchronised dance that featured canes, brooms, and a conspicuous prop that wobbled in time with their jumps and spins. This quickly devolved into a full-cast bar fight/dance number, with the cast taking turns beating up the interloper while he lunged at Theo.

Scarlett Voss (Etana Wasley) then took the spotlight for a “solo” magic act, but Sound Guy was quickly discovered as her hidden assistant. Their every attempt became increasingly disastrous, escalating until Scarlett was trapped in her own slacks during a quick-change trick. Philipe then came back on stage for a fire-eating solo, lighting his own hands, arms, and tongue on fire to keep the torches lit. After another Frankie interlude had him commentating on a game of snap, the flirtation between Theo and Daisy finally came to fruition through an incredible aerial set that received an audible “Wow!” from the audience while Vivienne sang.

The poker game came to a tense close as Scarlett decided to try and cheat the house to win the game. The final group number featured a comically large card that was tossed about between the cast as they danced and flipped and rode tables across the stage. The final surprise of Deal Me In! arrived in the form of Frankie St James’ tearaway pants as he delivered an impassioned speech on late-stage capitalism and posed in his golden hot pants.

To book tickets to Deal Me In!, please visit https://www.dealmeintheshow.com/.

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The Lightning Thief – The Percy Jackson Musical

The Lightning Thief

The Lightning Thief Rating

★★★★★

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27

Though we are sadly seeing multiple professional city shows close early in Melbourne in the current economic climate, Community Theatre in Cranbourne right now is absolutely thriving!

A fantastic cast of young people have just opened “The Lightning Thief” The Percy Jackson Musical, produced by Peoples Playhouse, and it’s a massive hit!

I knew absolutely nothing about this show prior to going on the sold out opening night and only learned this is also a series of very popular books from the friend I took along, who hadn’t seen the actual show either and equally enjoyed it. As “theatre mums” we love love love to sit back and feast on a bright new energy level. This show is full of action from the get go and it never ceases to amaze me what storytellers can weave in their imaginations.

A plot of wayward demigod teenager, Percy Jackson, the son of Ancient Greek God Poseidon, finding his purpose via a quest with other children of Gods to discover his father’s reason for not being present in Percy’s life is also a journey of bravery and self discovery. This musical, loaded with both catchy dance tunes and meaningful lyric songs, has everything in it to pack a punch with a young audience especially; the cheers didn’t stop from start to finish.

Playing ‘Percy’ is Isaac Lane from Nida Open in a huge role he handled like a pro, accompanied by Olivia Woodhouse, growing up in ballet and then discovering her love for musical theatre, she is a super strong ‘Annabeth’, and Jack Thompson studying full time at Showfit, is a true champion player in his role as Percy’s best friend ‘Grover’.

 

 

The flashbacks of the three mains as their younger selves by 11year old Jasper Sage, 11year old Ayda Melody Hendricks and 12year old Matthew Theoclitou were all well played with a lot of emotion from these experienced theatre youngsters.

The use of spotlights in this show is very effective; something I constantly noticed as enhancing what was happening on stage and there’s a LOT happening! Demon teachers, cute squirrels, frozen statues and very inventive props including the funniest tractor scene, you won’t ever guess what’s coming up next.

All the cast work exceptionally well together in the little details and the choreography is fun and energetic with some cleverly rehearsed fights and battles. Great job everyone, you were so fun to watch.

It’s always interesting to observe the versatility of cast members you’ve seen before in other shows and I was pleased to see Matthew Berend step out on stage tonight as ‘Mr.Brunner’ (aka Chiron & Ares) with his usual larger than life personality and in this show, half horse body 🙂

Christine Ferra was wonderful as Percy’s mum ‘Sally’ with such warmth in one of my favourite songs ‘Strong’ sung with Percy. Parent / Child moments in any show always get me.

A confident Alex Sabljak rocked as ‘Luke’ and Lucas Battey as ‘Mr.D’ (aka Dionysus & Hades) convincing in every role, as were Tyrah Pocock-Davies as Clarisse, Michaela Fitzpatrick as Charon, Jeanne Carlos as Medusa, Lore Burns as Poseidon and Penny Norris as The Oracle was superb.

A highly talented bunch of young ensemble members completed this show perfectly and we couldn’t have enjoyed it more!

Congratulations to Sarah Jeffs (Director), Drew Lane (Musical Director) and Sarah Hayes (Choreographer), what a triple threat trio you make!

You must all be so proud, congrats to EVERYONE, including those amazing set builders, costume gurus and organising / creative teams behind the scenes with Production Managers David Krause and Heather Rose and Peoples Playhouse President Michelle Thomas. Bravo!!!

Ticket link:
https://www.trybooking.com/events/landing/1570412

More info:
https://www.peoplesplayhouse.com

To book tickets to The Lightning Thief, please visit https://www.peoplesplayhouse.com/whats-on.

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