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Name Witheld

4 March, 2023

2 out of 5 fans

Listen. 

I started this account because I want to be honest, and to celebrate actors and crews. I don’t like to be overly critical, as it takes a lot of nerve and courage to get onstage and be vulnerable and authentic night after night.

I did not want to post a review while the show was going on, and I don’t want to name the show now, but I saw a pretty terrible production and it bummed. me. out. 

So I’ll share some thoughts, hopefully as lessons to be learned. Obviously this is just one person’s opinions, and I am not naming and shaming individuals.

I’m forgiving for most things – I love musical theatre, and I love most shows even by virtue of hearing songs I know by heart staged live, that I can share with others. 

It doesn’t have to be perfect, and I especially know that community theatre will often have its rough edges.

THAT BEING SAID…

Number 1: 

Do NOT do a show that requires a particular lead if you do not have said lead. 

You would not do Chicago without a Roxie, a Little

Shop without Audrey, nor a Wicked without an Elphaba.

If your lead cannot sing OR act (I can accept some people can do one but not the other), you do not have a show.

I appreciate as well that some shows require (or contextually infer) certain genders or races (for example, Hairspray).  This can make casting a challenge, but there are ways to interpret the context whilst still providing opportunities to a wider array of local talent. 

Great examples are the Australian productions of Six and Hamilton.  Both shows have productions abroad with roles that were interpreted/presented by actors of a particular race.  Local productions took the spirit of that (how do we ensure diversity and whilst maintaining the context of the show), and had fabulous runs.  

This enhanced the production, rather than enforcing a narrow casting lens.

Number 2:

Community Theatre has a guy problem. I’ve noticed (& learned) that there is a shortage of males available for community theatre in the Sydney area. This can make certain shows challenging, especially when there is an abundance of amazing female or Non binary performers.

The production I saw had nearly an all female ensemble. Which did not work with the show. The show (the setting, the dialog, the dramatic conflict) required some male presenting performers.

I genuinely don’t care about the vocal parts, they sounded great. 

But why not throw some baseball caps on and tie up some hair, so present the illusion of men onstage? It would have made a heck of a lot more sense, and still ensured the fabulously talented cast could maintain their roles.

It would have been an easy fix, and I felt it was lazy to not even go to that length in order to make the show work a bit better.

Again, without naming the show, I will say that the other two leads were excellent. Very talented and I look forward to seeing them again in something soon.

The choreographer did a great job, and certainly highlighted those who had strengths (and his those who did not).

The show was quite expensive for a community theatre production and I was disappointed in its quality. Again I didn’t want to post a review during the run as I wouldn’t want to impact community theatre commercially, but I do hope my comments find their way to the right folks, and lessons are learned.

I suppose this begs the question, what is the ultimate goal of community theatre?

Is it for the audience? A show they can sit back and enjoy?

Or is it for the actors and crew themselves? Spending hours of rehearsing, playing, finding characters? Forging bonds and friendships that will last beyond the run of the show?

If you measure it by the latter, it is obvious this cast was having an absolute blast, and I won’t begrudge them that. But I don’t think the criteria must be mutually exclusive. And I hope this companies next outing bears that in mind.

Hairspray

Written by Mark O’Donnell & Thomas Meehan

Music by Marc Shaiman

Lyrics by Scott Whitman & MArc Shaiman

Directed by Matt Lenz

Musical Direction by Dave Skelton

(and about 100 other creatives to put on this fabulous show) 

Crossroads Live
@Lyric Theatre

Middle Stalls, close to Stage

2 Mar, 2023

5 out of 5 fans

Y’all, Hairspray was so good, it broke me! 

I wrote about ten pages of notes on how brilliant the show was – we were out of our seats dancing by the end, and it was such a love fest during World Pride.  

I’ll share an abbreviated version of my highlights, because this was just such an incredible show.  

Unfortunately, my review is out later than I’d intended due to some travel, but hopefully many of you got to enjoy this spectacular production.

First, the cast:

Seaweed (Javon King). I’ve got to start with this person because he was insanely talented – he almost looked bored (in spite of his glowing smile), belting and sustaining notes that would be a challenge for most. He’s the consummate triple threat, as his dancing was on par with his singing, and this boy has range. 

Amber (Brianna Bishop) was a scene stealer – when she was onstage I forgot she was a villain. I was so  absolutely enthralled by her barbed lines.  I’m used to seeing Amber von Tussel as a snotty brat, but Ms Bishop made her desperately likeable?  Charmingly toxic?

Edna (Shane Jacobson) & Wilbur (Todd McKenney) – this was the best duo I’ve seen. Yes, I know, they are high profile stars and part of the huge draw in coming to see this production, but can I just say, the investment was so worth it.

The chemistry between Jacobson and McKenney was 🔥🔥🔥. I’m not sure if the break is part of how they’ve staged it, but they cracked during “You’re Timeless to Me” and had the audience in stitches for a good five minutes trying to get back on track. 

There were so many talented vocalists in this cast (including the trio who have solos during “Welcome the to the 60’s”) – I can’t find the characters/actors listed in the program, but they were gifted. [EDIT: They are called the Dynamites!]

There were many more talented performers, including Carmel Rodrigues in what I believe was her debut role.  Well done to Rodrigues!  She certainly made Tracy her own, which isn’t an easy feat when it is a role that has famously been done so many times on stage and on screen. 

Overall the production was brilliant. The pace was nonstop – I kept having the experience of ‘oh, we’re already at the THIS number?’.  In my experience that is the best way to do this sort of musical, keep it tight and pushing toward the finale.. 

The sets were pretty standard, but vibrant, and the costumes had your usual 60’s deliciousness.

There were a few lyric changes, most notably in the finale (singing of a future that “sees both white and black” as opposed to “don’t know white from black”). It’s been a while since the original Broadway recording I’ve memorised by heart, so this might be standard now. 


I have a great appreciation for how they’ve made the production more self aware given the times. None of the white characters sang as part of the chorus during “I Know Where I’ve Been”, which I feel like hasn’t always been the case in productions I’ve seen, but it felt right & appropriate. 

To be fair and balanced, I’ll point out a couple of things I didn’t love love:

First, the cast skewed a bit older than I’ve typically seen.  The ensemble gave me college rather than high school, and some of the principals were a bit more seasoned than I’ve seen. They were talented and it was still fun, but I had to suspect a bit of belief there.

I WILL say, I didn’t love Rhonda Burchmore’s wig. I found it a bit distracting, but I think that’s just because I was expecting her signature red mane.

The only other thing I didn’t love: I never realised that Motormouth speaks in rhyming pairs in all her dialog. I hated it 😂  it took me out of the moment. But I will say that once Ms Motormouth Maybelle started singing, everything was absolute gold.  What an incredible talent! 

This was a hugely special show, and I’m so delighted I was able to catch it. ❤️

Sex Magick

Written and Co-Directed by Nicholas Brown

Dramaturg and Co-Directed by Declan Greene

Griffin Theatre Company
@ SBW Stables Theatre

General Seating
20 Feb, 2023

3.5 out of 5 fans

Fun, quasi-cultural romp just in time for world pride. Ard goes on a journey, both literally and metaphysically, leading to sexual awakening, a reckoning of his past, and embracing his authentic future.

This is a world premiere of this new piece, and is also my first experience with Griffin Theatre Company, which specialises in debuting new work.  The production is quite remarkable: Brown’s script captivates, the staging and set/production values are innovative, and a talented cast playing two (or more)  roles. I look forward to seeing more at Griffin in the future!

Early on, the script calls outs Western preconceptions of India – tourists mistaking the mundane for “mystical wonder”,  racial profiling of those in the wellness industry, ridiculous notions of “gurus”.  

As we get deeper into Act 1 and then Act 2, these labels and strict forms come undone, and the productions begins to explore how things “are”, versus how we expect them to be, the plurality of all things, and this is the beauty of the play. 

Ard (Raj Labade) was so perfectly cast. Charming, with a casual sexiness about him, Labade draws us in to Ard’s journey with his endearing presence and cheeky smile.  The production asks a lot of Labade, and he delivers in spades, from lovelorn beau, curious disciple, to tortured son and comic relief.  He also knows exactly how to use the small space to great effect.

Like the rest of the cast, Ard plays another role as well, and so convincingly plays a younger version of his father who still lived in India at the time. The accent work (while played for a laugh earlier in the show) comes off as authentic, and you can easily forget you’ve just watched him speaking like an Aussie bloke for the previous hour. 

Paired off against Labade for much of the show is Catherine Van-Davies’s Liraz.  The duo are the perfect embodiment of subverted expectations, as the story we think we are going on with Ard and Liraz very quickly goes off the rails. 

Van-Davies is so fun to watch, as a deeply spiritual (though misguided) wellness personality.  As Van-Davies peels back the layers of Liraz’s past, she does such a wonderful job of exuding relatable pain of losing a lover. Van-Davies is the perfect ingenue, and if she looks familiar, it finally clicked that I’ve seen her recently on the SBS limited series ‘The Twelve’, where she portrayed one of the more visible members of the jury.

The ubiquitous and talented Stephen Madsen also appears in several featured roles. Madsen is most easily remembered for his six pack (I don’t think I’ve seen him in a role where he wears a shirt the entire time?), but that is quickly forgotten once you realise how damn funny he is.  His characters get some of the best one-liners, but his delivery is sharp and perfectly timed, and he nails both the overt sexiness, and subtle humour as only a seasoned actor can. 

And Blazey Best absolutely slays her multiple roles, including Ard’s mum (who has the fashion sense and empathy of Eddie from AbFab), and the hilarious guide Gondeshwar. Best disappears into her roles so deeply you’d be forgiven for not realising it is the same person playing both. There’s more I could say but you need to experience the performance yourself to truly appreciate her dedication.

Mansoor Noor and Veshnu Narayanasamy round out the ensemble.  Noor is equal parts hilarious and insightful as Boyd, who despite how he comes in to the story is quite the voice of reason.  Like the rest of the cast, Noor brings an understated sexiness to all three of his roles.

Narayanasamy is an exceptionally talented movement artist (what he did surpasses dancing in my opinion). Its a funny thing to watch a show which pokes fun at Western ideas of India and Hinduism, but to then be so captivated by the stories told through movement which make you want to learn more. 

There were some things that didn’t quite work for me – maybe one too many trips to the astral plane? 

The production reused a few motifs which went over my head, which I accept–not everyone is going  to pick up the same things.  But as the run time was already long, it felt like a diminishing point of returns may have been reached. 

But, this was a preview performance, a new work and an ambitious production, so these things are all quite easy to dismiss.

I have to commend the cast for their bravery, for the multiple scenes which contain nudity. This is just one of the ways Sex Magick makes us confront our own sexuality during the two hour plus run time.

Another example is a narration of tantric massage with lights off save for some clever light and fog work. While some times played comically, this section of Act 1 borders on discomfort (but in a good way – growth through discomfort). 

Choir Boy

Written by Tarell Alvin McCraney

Directed by Dino Dimitriadis and Zindzi Okenyo

Musical Direction by Allen Rene Lewis

National Theatre of Parramatta
@Riverside Theatre Parramatta

Row F – Middle

17 Feb, 2023

4 out of 5 fans

Spoiler Free Review:

Incredible production. McCraney has crafted a vulnerable tale from his very personal life experiences, that nonetheless resonates deeply with audiences of all kinds. Under Lewis’ prolific musical direction, the cast even had my agnostic little heart looking towards heaven. 

The cast, especially Darron Hayes’ Pharus, were extraordinary, cycling between raucous schoolboys, vulnerable children, and ardent disciples.

Don’t miss this show. 

Swipe for Review (some spoilers discussed):

Wow.  This was an incredible production. I wasn’t aware of Choir Boy at all, despite its lauded run on Broadway, but I can tell you the accolades are well deserved.

The story of Choir Boy is of a very specific thing, in the context of a particular type of place – a gospel choir at a (what I would presume to be) a private Black (or historically Black) school.  Admittedly, this is not my world at all – the only things I have in common with the main character, Pharus, is our gayness and our nationality (American).  But that’s the beauty of Choir Boy – its universally relatable to anyone who has event struggled to belong (particularly a minority within a minority), and the beautiful gospel music transcends beliefs and moves your very soul. 

The first thing you notice when you walk into the black box theatre where Choir Boy is performed is the monolithic screen which evokes stained glass and is used as one of the few set design elements.  The set itself, and the lighting effects which highlight it, were so interesting I am compelled to call it out. So snaps for Karen Norris (Lighting Design) and Paperjam Productions for this simple yet breathtaking stagecraft.

This is more notable for some of the ‘shower scenes’ throughout the piece. Sexy and dangerous in equal measure, I felt both titillated and fearful for Pharus as he entered this space. The eventual shower tryst between Pharus and David was built up to slowly and genuinely, and the production elements played a big part of that. 

From what I can tell, the scale of the performance has also changed to fit the piece.  Instead of the larger production numbers (for example, the Tony Awards featured a tap number to “Rockin’ Jerusalem”).  If I recall correctly, this was swapped out for a highly effective number which incorporated several overlapping bits of dialog (I am musically illiterate, and don’t know what this is called). 

I don’t know how this show was initially staged, but I can tell you that it works really, really well in this setting at Riverside.  It’s such a raw, emotional piece that seeing and feeling the vulnerability of the actors up close is just irreplaceable. 

Alright, now let me talk about this cast.  Darron Hayes’ Pharus is a pushy diva, but as the show starts with him getting called a slur, we forgive much of this behavior, while we slowly get to know Pharus and the cast better.  Hayes can turn from serious to sarcastic in milliseconds, and manages to keep the mood light despite his character’s challenges.

Bobby, played by Zarif – how the hell can you be the villain and so damn likable? Bobby has few redeeming qualities, but Zarif plays this role with such smooth charm you yearn to see more of them. It doesn’t hurt that their singing voice is angelic. 

Supporting Pharus and Bobby are AJ and Junior respectively played by Quinton Rofail Rich and Abu Kobe. 

Rich’s sympathetic AJ is the roommate any gay boy could dream of – handsome, sure, but more importantly caring, attentive – did I mention handsome?  Rich plays AJ as such a confident and assured young man; the moment where he offers Pharus a supportive cuddle was heartwarming. 

Abu Kebe’s Junior stole every scene he was in. Predominantly comic relief, any time Kebe would flail his arms, roll his eyes—literally anything, the audience would eat it up.  Coupled with his dance number with Zarif’s Bobby, they were the main characters of their own sitcom. Kebe is an actor that I would go to see a show I don’t know just because he’s in it.  Can’t wait to see what he does next! 

The rest of the cast is phenomenal as well. 

Theo Williams as David surfaced a vulnerable and conflicted student, who is once again extremely relatable – David needed a cuddle from AJ! 

And then we had Tony Sheldon as Mr Pendleton. I thought it was clever how McCraney introduced him to the show; it provided a ‘way in’ for white audiences.  He was ‘out of place’, but this was quickly and expertly diffused through well written comedy, and Sheldon’s affable performance quickly won over the other characters. 

Kudos also to Gareth Dutlow and Tawanda Muzenda, members of the ensemble.  They had virtually no spoken lines, but their presence and commitment was easily on par with that of the featured choir members.  Beautiful voices and succinct dancing – the cast is so solid together. 

The musical direction was incredible.  I have not been exposed to much Gospel music, but the voices of this incredible cast quickly sweep you away to another plane of existence – it really reinforced the discussions of hymns as praise.

I loved as well how intrinsically the music showcased the themes of Choir Boy – sticking to the same old hymns, what is expected, what is known, and snapping back at anyone who steps out of line.  Pharus, representing gorgeous improvisations and runs, until he is slowly brought back ‘in line’.  The music as the show closed out was still beautiful (how could it not, with Zarif’s ethereal voice), but far more menacing.

Serious praise to Allen René Louis for his musical direction. (I get that’s akin to saying ‘wow Shakespeare wrote well’, but credit where its due). 

Finally, I must confess I deemed this review ‘spoiler’ because I had to discuss that ending.  Pharus, walking across the stage at graduation. Croaking out trying to sing, but no sound would come out, while Bobby and the choir boys look on. This was crushing. It took me a good bit until I was recovered from the injustice, and the heartbreak.  But that is what makes Choir Boy, especially this production, so moving.  It reminds me that it is my privilege to leave the theatre, and recover from what I’ve seen – that is not the same for those who live this experience to this day.


It’s worth quoting Tarell Alvin McCraney here – the play serves, still, as an “immediate lament on how very far we have to go”.

Well done to cast & crew! ChoirBoy is touring through April, so make sure you book tickets!

La Cage Aux Folles

Written by Harvey Weinstein & Jerry Herman

Directed by Riley Sparado 

The Concourse

5 Feb, 2023

La Cage Aux Folles was a delight! I mean how could it not be? it’s like a recipe made up of butter, sugar, and Nutella – with those core ingredients, whatever you come up with is sure to be delicious!

I’ve not seen Cage Aux Folles before, but like most gays of my generation–I’m in my second attempt at my twenties, thankyouforasking), I can quote The Birdcage from memory. I wasn’t sure how closely the source material would reflect the film, but I was pleasantly surprised by what stayed the same, and even more so by elements that were not in the film.

My favourite part was easily the troupe of drag performers (the Cagelles).

Look, I love Classic drag, female illusion and cabaret. There’s something so different from using physicality and stage presence to entertain than lip synching “foooor yooour liiiiiife”. 

The costumes were stunning (if Sydney has an ostrich plume shortage, I now know why), and the contrast of the strapping muscles of the performers was hilarious if not thirst inducing.

In particular, Chantal, played by Nick Eynaud, had us captivated by each indifferent shrug or exasperated command to her bevy of ‘birds’.  Towering above the rest, Chantal was both imposing and hilarious, and set the tone and high energy for the rest of the performance.

The supporting cast were all various stages of brilliant. I am so torn between my favourites: the mincing Jacob (Anthony Brandon Wong), giving Hank Azaria (his Birdcage counterpart) a run for his money, or Lucia Mastrantone’s Jaclene, a fabulous & notorious diva. I desperately want a spin off of these two characters. 

Wong seemed to be having the time of his life as the maligned and put upon butler maid of Albin & Georges, and clearly believed themselves to be the main character (I’d buy it, if not for Paul Capsis’ ZaZa, who switched from Greek tragedy to farce with speed and, sometimes, grace).

My favourite Mastrantone moment was a monologue recalling a conversation with herself – the audience was hysterical! I last saw the actress in Looking for Alibrandi, so I knew she had range, but the way she physically hurled herself across furniture, and allowed herself to be carried off by Cagelle: she was a tour de force. 

Noah Mullins’ Jean-Michel was sweet, though Jean-Michel came across more entitled rather than desperately in love with his fiancé. In the end, Mullins’ endearingly embodied his characters realisation, guilt and reconciliation with ZaZa. 

Chloe Malek’s Anne Dindon leaves a lasting impression through her dizzying entrances (pirouetting into place). While Anne doesn’t have much to do, Malek uses the economy of her lines wisely, and creates a charismatic and likeable  ingenue. She shares this trait with Zoë Ventura, who has even fewer lines but brings life to dutiful wife Marie Dindon, who is as effervescent as the champagne she guzzles throughout her scenes.

On to the leads: I was naively unaware of Paul Capsis, which I now realise is a mortal sin. Capsis’ ZaZa evokes both Harvey Fierstein’s own Edna Turnblad and Hugo Weaving’s Mitzi Del Bra, however she is (as the famous song goes) her “own special creation”.  

Paired with Michael Cormick’s Georges, the duo are electric. Cormick is my pick for Hades in Hadestown when it comes to Australia. His Georges was the emcee at the titular nightclub, and Cormick deftly alternated between charming host and doting husband/father.

I was delighted my favourite scene from The Birdcage (“Albert, you pierced the toast”) was not only in the source material, but a rousing musical number as well. 

There aren’t many unique songs (rather reprises and repeats), but the music is sweet and catchy (I’m still singing it days later).

Unfortunately, La Cage has finished its run. It had already been delayed once last year due to Covid, but the wait was worth it.  Kudos to the cast & crew, and director Riley Sparado, for a wonderful piece of theatre and a gorgeous afternoon at The Concourse.

Hubris & Humility

Written by Lewis Treston, Directed by Dean Bryant

Sydney Theatre Company

3 Feb, 2023

Absolutely loved Hubris & Humiliation. This show is an absolute must see, playing through 4 March at the Sydney Theatre Company’s wharf theatre.

It’s incredibly hard to describe the production, because every element was brilliant in its own right—the enchanting cast, the sharp writing, the clever direction, and the gorgeous set, music, lightning and consume design—but together, the amalgamation surpassed the typical calibre of theatre we see. This was transcendent. Resplendent. And very, very gay.

It is a challenge to take a story like Pride & Prejudice, which we all know*, and somehow still offer surprises.  Author Lewis Tristan took that challenge, and slapped it across the face with a bejeweled satin glove. The dialogue perfectly mirrored the Regency era’s obsession with wealth through marriage, status, and manners in a contemporary (and very woke) Sydney. 

*I’ve never read nor watched Pride & Prejudice, but between Bridget Jones Diary and Fire Island, I get the general idea.

I’d be keen to buy a copy of the text, if only to fondly recollect the zingers perfectly pitched by Celia Ireland and Henrietta Enyonam Amevor. I felt the Australia that I have come to know and love reflected in the world of this play, and especially the queer community in Sydney.

I credit Dean Bryant’s direction of this piece for seamlessly unfurling the talent of the cast and creatives alike.  I won’t spoil the surprises, but Dean managed to continually delight the audience with unexpected (yet perfectly executed) elements, and infusing music and dance throughout.

Even before the cast has had a chance to charm you, the gorgeous set will snare your attention. Hideaways, sliding panels, and movable set pieces transform the oppressive regency backdrop into all manor of locales in Sydney and beyond. 

Finally, the superb cast. Roman Delo leads as Elliot, whose adorable and quirky mannerisms quickly endear us to him. He highlights both masc and fem qualities of Elliot, and elevates the character out of stereotype to a more complex figure (which is remarkable, as his entire journey is to land a wealthy gay husband).  

Ryan Panizza alternates between screeching social-climber Warren and lascivious William. Panizza absolutely nails both roles, and the chemistry between he and Delo is electric.  Director Dean Bryant clearly knows his audience, as both Panizza and Delo grace the audience with their powerful physiques.

Celia Ireland, as expected, steals the show (or at least, comes close – the immensely talented cast doesn’t let focus stray for long). Her portrayal of Delaney matriarch Bernice is simultaneously absurd and believable. 

The rest of the cast easily meets this high calibre: 

  • Andrew McFarlane’s Roland combines Ian McKellan’s campest notions with Sydney “Daddy rich” opulence; 
  • Melissa Kahraman’s Paige gives ‘main character’ energy and had the audience in stitches; 
  • Henrietta Enyonam Amevor lit up the stage whenever she was on (as sassy Chantel, or eccentric Juki, the latter being one of my favourite sequences on stage possible ever). 
  • Mathew Cooper equally entertained and inadvertently steamed up the stage in the character of Brendan. I won’t say more, but…whew!

It’s not often I laugh this hard at a production, but between laughs, the production had an incredible amount of heart to it as well.  My only complain? The digital program is great for sustainability, but I miss having a memento of a show that gave me giggle fits. 

Hubris & Humility is playing now through 4 March at Sydney Theatre Company.

Urinetown

Heart Strings Theatre Co.
in association with Hayes Theatre

21 Jan, 2023

Thoroughly enjoyed this production! I’ve seen the musical many times and had high expectations, and despite what I presume are budgetary constraints, I thought the cast did a superb job.

The musical hinges in large part on its leads, Bobby Strong (Joel Horewood) and Hope Cladwell (Petronella Van Tienen). These are highly stylised characters with challenging vocal moments. Norwood and Van Tienen executed these roles flawlessly. They had a beautiful chemistry, and excellent comedic timing, nailing every beat with charm.

I had heard that the production had gender swapped Officer Lockstock, a typically brassy bass type role. 

Here, Lockstock was played by veteran Karen Vickery, and by her second scene I was absolutely sold. There were tricky moments where some of Lockstock’s notes were perhaps on the cusp of her impressive range, but it’s absolutely forgivable, given her commitment to the role and delivery of some of the shows best puns.

Truly, the entire ensemble was dynamic and enthusiastic!  Miss Pennywise (Deanna Farnell) was a clear standout (Ms. Farnell understood the assignment). 

Little Sally had excellent moments oscillating from adorable to vengeful, and executed doll-ography to the audience’s constant delight. 

Joe Dinn and Tom Kelly who most obviously swapped between ensemble and major roles were hilarious (particularly Dinn, whose Ma Strong I never knew I needed until now). 

The remainder of the ensemble chewed the scenery in the best possible sense (this is a musical that practically demands it), and brought a fantastic energy to the musical numbers. Broadway energy in a much smaller space (and for a cheaper ticket as well).

Musically the show sounds fantastic – given varied styles and some complex vocal parts, this isn’t an easy feat. Hats off to the band!

Where the show could have been better was in some of the directorial choices. There was a bit too much ‘fat’: moments that were funny, sure, but stopped the momentum of the show unnecessarily. And repetition of certain gags – it doesn’t enhance the show. 

The talented ensemble were brilliant at chewing scenery, but perhaps needed a little bit of editing – not every scene needed feral and chaotic energy.

I didn’t quite think the costuming did the job – while I imagine there was a limited budget, an odd wig or two would not have gone amiss. There were some characters that weren’t differentiated enough. And I’d like to have seen Cladwell a bit more white collar; I was getting cruise ship concierge.

I’d also say as someone who’s seen the musical, there were some gags that were missing that disappointed me. Costuming (Lil Becky is typically as heavily pregnant), props and choreography (I missed the bunny hop in “Don’t Be the Bunny”).

I’m not sure why some of these changes were made, and it made me a little sad, as I know these are moments that I enjoyed when I’ve previously seen the show.

I’m being picky, because it is one of my favourite shows. This is a fantastic production, which doesn’t do itself any favours with some of the recurring gags (no one needs to say “whaaaaa?”. Ever.). 

These interrupt and take you out of what is otherwise a really fun and gorgeous sounding production!

I’d encourage you to see Urinetown (the musical, not the place). Besides being entertaining with a catchy score, it underpins a dialogue we need to be having about sustainability, and progressive vs conservative ideals. Congrats to the fab cast, crew and musicians ❤️

RBG: Of Many, One

Next on my 2022 Retrospective is RBG: Of Many, One.

What an incredible show! I’m at an age where I have to see a lot of matinees – I simply cannot make it through a show late at night without nodding off for a few minutes. This is especially true of a one person show.

Clearly, the exception to that rule is Heather Mitchell. I was captivated by Suzie Miller’s script and every word out of Heather’s mouth portraying this icon. Her physicality through the decades was 💯

This show hits differently for an American in Australia, and I’ve got to tell you this performance deserved every standing ovation it got.