Magnificat, sung by the Geelong Chorale, All Saints’ Church, Noble St, December 7, 2019.
‘This is not a tune you will hear in the supermarkets.’ said Geelong Handbell Choir leader Gwyn Gillard when introducing her group’s performance of Douglas Wagner’s arrangement of I Saw Three Ships. She was correct, of course, and the delightfully clear, melodic treatment of that seldom-heard traditional carol made a wonderful antidote to the saccharin mix of bland carol tunes and Santa, snowman and reindeer children’s songs that today are used to signify Christmas. This means they are inflicted on us in public spaces from mid-November until sometime in early February when the supermarkets suddenly realise that Christmas is over because their deliveries of hot-cross buns have arrived.
But I digress, and, rant over, I have to say that Gwyn’s comment could have applied to every tune and song that was delivered, gift wrapped, at this concert. They were all gloriously refreshing.
The Handbell Choir’s five short tunes were actually a contrasting interlude in what was The Geelong Chorale’s Christmas concert which this year featured seasonal works by two English composers in Ralph Vaughan Williams and John Rutter.
It began with a nod to the venue - the chorale arriving from the back of the church in a dignified procession - before director/conductor Allister Cox’s welcome, then succinct explanation of each work’s background.
The two Vaughan Williams pieces, Fantasia on Carols and Two Chorales from the cantata Hodie were led by baritone Rodney Dearing, a soloist drawn from the Chorale’s own numbers.
It should be said here that the 2019 Geelong Chorale is blessed with top-register choristers, having fifteen sopranos and nine altos contrasting four tenors and seven bass singers.
That upper-register superiority was not only perfectly suited to the venue’s ultra-bright acoustics, but it formed a lovely background to Rodney’s confident baritone in delivering what were essentially two complicated ecclesiastical themed works.
But then after the Handbell Choir’s intervention, which comprised In The Bleak Midwinter, What Child Is This?, I saw Three Ships, Past Three O’Clock and a delightful new arrangement of Silent Night using hand-chimes, came the concert’s signature piece in John Rutter’s Magnificat.
Allister’s introduction told us that the work had been written in 1990, and that when it was first performed in America’s Segerstrom Hall in December of that year, the Los Angeles Time’s music critic described it as.. ‘a virtual encyclopaedia of musical cliches, a long-winded, tamely tonal, predictable exercise in glitzy populism…’
His Chorale then delivered it as a 20-minute six-segment work of sacred music, featuring soprano Fiona Squires.
Fiona’s clear sharp-edged voice and sensitive delivery was fitting for such a devotional piece, while the Chorale’s make-up and concentration gave it an impressive degree of church credibility.
Taken together, this concert was harmonious in every respect: in its music, it’s suitability to the season and to its venue.
It left its audience particularly satisfied, with the lingering thought that inside of 20 years, Rutter’s ‘musical cliches’ would have moved to be considered elite, most especially when compared to the mass delivery of our very true ‘exercise in glitzy populism’ that is delivered everywhere at this time of year.
- Colin Mockett
Franckly Innovative Concert
César Franck and his Students conducted by Rick Prakhoff for Music at the Basilica, St Paul’s Church, November 22, 2019.
This concert brought together two progressive thinkers of the Geelong classical music scene with one from history. This occurred in a perfect venue and resulted in a surprisingly satisfying back-to-front performance.
The thinkers were Music at the Basilica’s artistic director Frank De Rosso, whose concept was to present selected works from César Franck - the historic progressive - along with some from his students. He then handed the project to fellow musical innovator Rick Prakhoff to bring together.
César Franck was in the vanguard of a wave of French-influenced composing that emerged in the mid 19th Century presenting a lighter, romantic feel compared to the more formal Germanic-influenced music of the time. Franck and his students set standards and created music that still resonates today.
This concert’s structure was built around Franck’s rarely-heard Mass in A Op. 12 which was written to be performed by a church choir with solos from a soprano, cello, harp and organ.
Rick Prakhoff brought together his 35-member Windfire Choir with excellent soloists Teresa Duddy (soprano), Timmothy Oborne (cello), Jacinta Dennett (harp) and Frank De Rosso (organ). This unusual line-up gave the concert its back-to-front appearance. Because the choir was central, where we are more used to seeing an orchestra, fronted by musicians and singers in soloist positions.
This configuration was highly effective in the near-perfect acoustics of St Paul’s Church. It was a joy to hear Ms Duddy’s clear, beautifully modulated soprano soaring and resonating over the choir’s musical framework, itself supported by Frank De Rosso’s delicate work on the church’s organ. This structure was just as effective below Mr Oborne’s warm and elegant cello as it was the delicate precision of Ms Dennett’s concert harp.
But then came the works from Franck’s students which brought in different performers, combinations and configurations allowing the concert to flow into some delightful new areas.
The sensitive, precise pianist Sonoka Miyake accompanied Teresa Duddy for Charles Bordes’ O mea morts tristement and Vincent d’Indi’s Lied Maritime. She then combined with Timmothy Oborne’s cello for Ernest Chausson’s Piece Op 39. Then choir and organ returned to continue the Sanctus from Franck’s Mass, before Tom Healy’s excellent baritone joined them to complete Tantum Ergo.
After a short interval, the second half brought more surprises. It opened with the delightful combination of Jacinta Dennett’s harp with Brighid Mantelli’s flute to perform Ernest Chausson’s birdsong - accompanied midway by a passing police siren - before the soprano/piano duo of Duddy and Miyake presented two quite differently textured songs in Henry Duparc’s Chanson Triste and Guillaume Lekeu’s Chanson de Mai. Then followed a delicate piano solo, Joseph Ropartz’s Nocturne, before Teresa Duddy delivered an immaculate and achingly beautiful version of Panis Angelicus accompanied by cello, harp and organ. She then led the full choir in the composer’s own Ave Maria. Choir and organ delivered Louis Vierne’s Tantum ergo before a suitably conclusive final piece, Franck’s Agnus Dei was presented by an almost full house of choir, soprano, baritone, harp and organ.
Taken together, this diverse and adventurous concert was, literally, a resounding success. It augurs so well for Geelong’s 2020 series of Basilica and Windfire concerts.
- Colin MockettTangled Rapunzel Raises Big Bucks
Rapunzel: A Tangled Panto directed by Liz Lester for Medimime, DramaTheatre, GAC, November 16, 2019.
Here’s a surprising fact: Medimime has raised more funds for the Geelong Hospital in the last five years than it did during its first 25 years. That was taken from this show’s programme, which proudly listed each years fundraising since the company’s 1974 inception. The total is more than half a million dollars and every cent was donated to our hospital. I caught up with Medimime life member and this production’s director, Liz Lester, during the show’s interval and asked what she credited with the success of the the last five years, which had averaged a tad under $30,000 annual donation. She said the company had rationalised, become better at marketing, and introduced such fundraisers as trivia nights and sponsorships.
The sponsorships were evident during her show itself, with oblique references to local businesses that added some surprises elements to what was essentially a nonsensensical traditional fairy story.
Because what Liz didn’t say was that Medimime has carefully built a 45-year reputation for providing an annual splash of colourful, musical tomfoolery, loosely based on the British traditional panto, that had become a staple must-go entertainment for Geelong families. And that was very much the case with this Rapunzel.
The packed audience was just about all family groups with kids from toddlers to teens. Their excitement was audible and they were loudly, happily engaged throughout with the show's silliness, it’s colour and its use of contemporary songs woven into that (literally) fantastic storyline.
The baffling cross-dressing remnants from British panto, where the leading man was played by a strapping female and the comedy dame by a man were simply accepted. Why wouldn’t they? Alicia Neels’s Prince George could have opened the batting for any WBBL team, and Scott Bradley’s Nurse Hetty was essentially a bawdier version of TV’s Mrs Brown. Scott Graham gave us his regular Regal King, Semus Kennedy made a naive comical anchor-host and if the comedy duo of Ball and Socket - enthusiastically delivered by Deanne Elliott and Trent Inturrisi - received a cooler reception than previous years, that was probably due to their limper than usual material. But what was very much evident was the care and attention in this Rapunzel to casting and then to the big production musical numbers. All of this show’s lead performers had excellent singing voices - all their production numbers were vocally sound and slickly choreographed. As Rapunzel, Cate Dunstan was suitably naive and sang beautifully. But then, so too did her gentle beau Alicia and her surprisingly vindictive mother, Jenna Irving. Another surprise come from the show’s arch-villainess, Witch Gothel, who, in the hands of Kate Gore, was both loudly booed for her character and warmly applauded for her theatrical skills. Paige van der Chys, Georgia Hermans and Amity Durrano provided no fewer than three good (and sometimes awkward) fairies; and the ensembles, adult and children, added everything from hip-hop dancers and marching soldiers to flick-flacking mice and dancing bugs.
It was, after all, Medimime and a chance to have fantastic fun while raising big money for Geelong’s Hospital.
Go see it. You’ll keep a Geelong tradition alive for a very good cause.
- Colin Mockett
Theatrical exposure of dark secrets
Parramatta Girls directed by Zina Carman for Torquay Theatre Troupe, Price St Theatre, Torquay, November 4, 2019.
It was a brave decision by director Zina Carman to stage this play set in Sydney’s Parrammatta Girls Home in the 1960s at Torquay’s Price St Theatre. The cosy atmosphere with pre-show drinks and interval tea and biscuits sat in stark contrast to the dark stories of sexual and physical abuse to girls aged between 13 and 16, that she was unfolding.
Theatrically, it was more than brave - courageous and foolhardy, perhaps - for her to ask eight mostly middle-aged white female actors to depict those girls, three of whom were indigenous. Added to this, one of her actors was making her stage debut, another was returning after a 20-year hiatus and a third after taking a two-year break. Some would say the director’s decision appeared more than brave, it was foolhardy.
More so given that previous performances of Parramatta Girls since its 2006 debut had been criticised for playwright Alana Valentine’s jumpy ‘cut and paste’ methods when using the real testimony of the institute’s surviving girls.
But I’m here to tell you that despite all of the above, this flawed production of Parramatta Girls was extraordinarily effective.
That was because it carried the most powerful message of any play that has appeared on our stages this year. I could argue that for many, many years previously, too.
And it was that use of white middle-aged actors to mouth the real words of aboriginal girls after being abused by their white male warders that gave this play such potency.
For in the cosy Torquay Theatre, (which is really a borrowed Senior Citizens Centre with notices on the wall advertising U3A classes and coach outings to the Chocolate Cafe) were stories being enacted that made the #metoo allegations against Harvey Weinstein appear almost innocuous.
Those harrowing stories of systematic intimate abuse seemed to take on more impact because they were delivered in Karen Long’s gentle Irish, Danielle Rowarth’s muted Kiwi or Terry Roseburgh’s refined US accents. They were enhanced by Lisa Berry and Sindi Renea’s sympathetic acting skills and by Lynne Elphinston-Gray’s inborn dignity. Then they were strengthened by Debra Shaw’s recognisable frailty and Georgie Powell’s youthful vulnerability.
So that jumpily erratic script, occasional slow scene-shifting and first-night fluffs - along with the actors incongruity - were completely overlooked by this production’s packed premiere audience who sat in awed silence throughout. Until the end, that was, when they burst into appreciative applause.
As we left, one woman asked her friend in hushed tones “how many times have they got to do that? It must be traumatic for them.” She was talking about the actors. I was wondering what the real Parramatta girls would have thought…
I do recommend that you go see this Parramatta Girls and take the opportunity to look past the obvious and see one of Australia’s darkest secrets exposed to the sort of cleansing exposure that only theatre can provide.
- Colin Mockett
Urinetown - The Musical directed by David Greenwood & Michele Marcu for CenterStage Geelong, Warehouse 26, Sunday October 27, 2019.
It’s an awful name for a musical, I know. That’s because the show’s narrator, Connor Rawson told the audience this as we sat around the giant sandpit that was CenterStage’s north Geelong headquarters.
Connor played a cynical corrupt policeman as well as narrating, either directly or through a cute questioning child played by Hannah Senftleben. Yes, I know that it’s unusual to get a baddie to step aside and explain the inner workings of a show, but that was the point. Because Urinetown - The Musical took satirical aim at just about everything, including the accepted structure of stage musicals.
The base Urinetown running storyline told of a mythical American city that was low on water following a 20-year drought. It was in the hands of a corporation called UGC - Urine Good Company - whose policy was to charge people to use their public urinals and outlaw all other streams of relief.
Inside this structure, the musical took on a steady flow of real-life targets from people’s blind acceptance of authority to corruption and abuse at all levels. It then went further to show that revolution and renewal doesn’t necessarily have the best outcomes.
Enough to say that in Urinetown - The Musical, nothing was sacred or off-limits. It was really a clever satirical discharge of acid, wacky humour.
This Centerstage version was big, with 20 performers in that sandpit and an eight-piece band in the nearby amenities block. All were well-drilled and talented with strong leads and young, energetic people in support roles.
The lead couple of Liam Erck and Madelyn Ludbrook were particularly effective. He, because of his strong all-round theatrical presence and she from her charm and a beautiful singing voice. Probably their biggest achievement was to establish a romantic element inside Urinetown’s farcical distractions.
There was no such problem with cop/narrator Rawson or his sidekick Oliver Russell, both of whom discharged their outlandish duties with relish and a plenty of over-the-top fun. Meanwhile Simone Warnock was sensible and steadfast as the keeper of the city’s worst amenity and Dom Wolfram was an authoritative presence at the corporation’s head.
All of the above delivered the show’s 19 cleverly written, tuneful songs faultlessly, thanks to neat and unobtrusive backing from Eric Von Ahlefeldt’s unusual offstage band. His line-up comprised keys, reeds, trombone, bass and drums highly effectively.
Behind those aforementioned leads came a talented anarchic support ensemble that at times threatened to take over the whole shebang with its song and sand-dances. They were led by an aggressively awkward Jack McPhail, belligerently pregnant Jess Senftleben and an energetic young ensemble comprising Rose Chambers, Hamish New, Jasmin Wilson, Bonet Leate, Jasper Jarwood, Maya Supple, Maddy Horne, Dylan McBurney and Ashleigh Nearn. Aside and inside this structure David Jarwood played a happily corruptible senator who doubled as a rabbit while Leanne Treloar and Gerry McKeague presented Liam’s aged parents with constrained aplomb. And it has to be said that Joel Lane, Marcie McGowan and Melissa Musselwhite filled their various roles with strong, effusive outflows of talent.
The choice of directors David Greenwood and Michele Marcu to present this show in a giant sandpit was both effective and confusing. Effective in that it allowed choreographer Bek Wik to put together some suitably wacky heavy-footed dance numbers, yet confusing when the script referred to its mucky revolutionaries hiding in the town’s sewers while we watched them apparently frolicking on a beach. But that touch of absurdity only added to the show’s surreal - yet satirically profound - appeal.
And suitably at the finish of this Urinetown, my - and the entire audience’s - appreciation came in a strong, steady stream.
- Colin Mockett
New York To Norway, Geelong Symphony Orchestra conducted by Fabian Russell, Costa Hall, Saturday October 26, 2019.
In its short four-year history, our Geelong Symphony Orchestra has earned a reputation for excellence and another for its innovative programming. This exceptional concert was an example of both.
For under that bland New York To Norway title, our orchestra presented the jazz and pizzazz of George Gershwin musical showmanship alongside the national pride of Sibelius’ Finlandia and the romantic lyricism of Grieg’s piano concerto.
All were performed with accomplished mastery by the GSO under the baton of one of its favoured conductors, Fabian Russell. But then came the programming inspiration that turned an excellent concert into a truly memorable one. First was to set the two Gershwin numbers Rhapsody in Blue and An American in Paris before the interval, with Finlandia and the beautiful Grieg piece - frequently referred as 'the perfect concerto'- to provide a resounding finish. This meant the concert began with Gershwin’s familiar jazz-flavoured soaring clarinet flourish and carefully built to Grieg’s so-satisfying piano-led full orchestral dramatic finale. That was enough to produce a quality concert, given the augmented (72 member) Geelong orchestra’s competence and confidence. But their master stroke was to engage the remarkable Australian pianist Hoang Pham as guest soloist.
Hoang’s style is not flamboyant. His persona is quiet, neat and smilingly polite; reticent, even. That’s fitting for someone who’d arrived with his parents as a former boat-person refugee and learned his piano skills on a keyboard in his parent’s Melbourne housing commission flat. But seated at the piano, Hoang showed the mastery that won him the Best Australian Pianist at the Sydney International Piano Competition and subsequently took him around the world.
He accompanied our orchestra to a Rhapsody in Blue that would surely have pleased Gershwin himself, with its Hollywood-esque soaring dramas perfectly blended with 1920s-style syncopations. It’s a big piece, some 20 minutes or more, and Hoang played it from memory without the benefit of sheet music.
After Hoang’s departure, the GSO, and conductor Fabian Russell showed their own flair in bringing all the musical shades and hues that Gershwin used to paint his American in Paris, with its traffic bustle and contemplative moments with such verve to leave us eager for more after the interval.
We were not disappointed.
The GSO’s Finlandia displayed first the chill of that country’s northern climate coupled with the fire of Sibelius’ nationalistic pride in a mighty performance that highlighted the strength of its brass and percussion sections.
Then came that commanding Hoang Pham performance of Grieg’s Piano Concerto in A minor Op. 16 (Edvard Grieg’s only piano concerto) that led to such sustained applause - from audience and orchestra - that was to bring Hoang back for four curtain calls and two delightful bonus solo pieces by Chopin. They were of course, played without sheet music. As was the Grieg concerto.
You know what they say, you had to be there to experience it...
But, dear reader, you can.
Because at this concert, the GSO launched its 2020 Costa Hall season, quietly on the back of its programme.
It looks exciting and innovative, with concerts celebrating Beethoven, Strauss and Tales of Love and Death.
I’ll be there and can't recommend highly enough that you come, too.
You’ll find such pride in your orchestra, along with your city and its growing, glowing culture.
Details of the GSO’s 2020 season are on this website’s diary HERE
- Colin Mockett
Picnic at Hanging Rock directed by Nicholas Brooke for STAT, Shenton Centre, October 5, 2019.
This modern adaptation of Joan Lindsay’s 1960s historical fantasy novel was a challenging project for Deakin University’s Student theatre group.
The original novel, set in 1900, saw a group of female students mysteriously disappear while visiting the isolated Victorian beauty spot. This led to Peter Weir’s powerful and mysterious 1975 film, which lifted the storyline into Australian myth status.
To this extent, this production’s director, Nicholas Brooke, felt the need to begin his programme notes with.. ‘This is not a true story…’
For this version was written in 2016 by playwright Tom Wright.
He took Joan Lindsay’s original storyline and shifted it on a bit further, into the investigation that followed the girls’ disappearance and even bringing back one of the missing girls and re-introducing her to her school.
What made this play challenging was not just to keep the mystery relevant, but to play every part using just five young female actors.
Director Nicholas Brooke and his assistant Rosie Moroney provided a base layer of mystery with the use of a simple, vaguely enigmatic gloomy set and selective lighting coupled with Nathaniel Huynh’s ethereal music and effects.
There were also a series of on-stage props that included white parasols, chalked triangles, a bag of stones and several random objects that became obsessive to the girls at different times.
The five actors, dressed in the uniforms of modern-day schoolgirls, took on their characterisations without props or costumes.
They used acting skills, changing voice and body language to switch from calm, then frightened students through to anxious or defensive schoolmistresses and then investigating policemen.
In the play’s second act, this moved into surreal territory as a lone investigator had brought back a girl from the dead with alarming results.
All this called for an exceptional level of on-stage concentration from the acting team, which was delivered with uniform discipline.
Lauren Atkin presented a highly credible investigator in her range of characters, matched by Chloe Edwards’ obsessed detective. Laura Ozzimo’s switched from timid schoolgirl to become an aloof, cruel headmistress. The object of her scorn, Nella Wee Hee, built on an unfortunate loner back-story to become the awed and frightening returnee; and Colleen Lawrence brought skill and credibility to every one of her wide range of characters.
Together, they created thought-provoking elements that intrigued, chilled and challenged their audience while displaying impressive stage-craft.
- Colin Mockett
Kinky Boots directed by Christian Cavallo for GSODA inc, Playhouse at Geelong Arts Centre, October 4, 2019.
If there’s a musical with a stronger social inclusion message, I don’t know if of it.
If there’s one with a more powerful final number designed to nail that message - it’s yet to be written.
For this bold, brash, loud camp extravaganza surely kicks all the other feelgood musicals into touch with a colourful flourish and sparkling exhibitions of inclusive gay pride.
This GSODA version brought all of that to Geelong for the first time with strutting conviction and star-spangled confidence.
On the way it revealed some fine theatrical and musical talents; displayed moments of wry humour and just generally had a rip-roaring multi-cross-gendered exuberant time.
The production started slowly, but that was inevitable given its storyline of a failing English shoe factory that was rescued from bankruptcy by a radical change of merchandise.
That conversion came some twenty minutes into the show, sparking it into rip-roaring life when the company’s reluctant young inheritor/owner - played with burgeoning assurance by Jonathon Gardner - met and befriended a drag artist following a street altercation.
He was Lola, who was beautifully portrayed by Winston Hillyer with sashaying yet fragile bravado - and the sweetest tenor singing voice.
Lola and her four sequinned strutting syncopated drag ‘angels’ - Andrew Coomber, Ben Arnold, Shane Pritchard and Tyler Stevens - lamented the scarcity of suitable footwear for their profession. Jonathon saw this as a business opportunity that could save his factory and the course towards that big, brash flouncing finale was firmly set.
Inevitably Jonathon had to overcome opposition from his factory workers, a force that was studded with faces familiar on Geelong’s stage scene. For working under loyal foreman Ian Nash-Gilchrist were a suitably mixed and talented workforce ensemble that included Shayne Lowe and Alicia Miller along with Davina Smith, Glen Barton, Katie Loxston, Terri Powell, Lionel Baker, Sanela Osmonovic, Will Johnston, Dan Eastwood, Sarah Glynne, Saskia Norrington, Thomas Newman Rebecca Wik, David Keele, Caitlin Lear, Will Reed and most especially Brady King, whose confrontational bravado and later conversion made one of the show’s many highlights.
There was a love interest/ class conflict between Chloe Stojanovic and Angie Bedford and occasional flashbacks to young Charlie and Lola played by Charlie Manderson and Isaac Jamal.
There was uncertainty, conflict and redemption aplenty, a neatly portrayed contrast between the drab factory and glittering drag cabaret and it was all stitched together with Cyndi Lauper’s rock score played with sure, loud certainty by Phil Kearney’s 13-piece rock band.
Then all this was carefully polished and presented with Christian Cavallo’s accomplished direction.
The songs were enhanced by off-stage singers Dylan McBurnley, Nicola Gibson, Nicole Hickman and Rebecca Seccull and the ensemble’s movements were combined with wit and precision by choreographers Damian Caruso and Jemma Lowther.
I’ve a suspicion that all these made it on-stage at that rip-roaring kinky-booted final Yeah-Yeah number, along with the show’s overworked wardrobe mistress Mandee Oates. If they weren’t there, then they deserved to be.
Of course, this Geelong Kinky Boots had some first night pinches and mis-steps but nothing that director Cavello can’t fix with some tightening. Because at base, this show was a rip-roaring loud and brash celebration of humanity’s ability to conquer bigotry in all its forms.
It’s a wonderfully uplifting loud and proud celebration that deserves a season of full houses.
- Colin Mockett
The Last Five Years directed by Paul Watson for Geelong Lyric Theatre Society. Peter Cannon Theatre, St Joseph's College Newtown, September 28, 2019.
Look at the date. We saw this production on grand final night.
On a day that had been dominated by the overwhelming razzmatazz and media whoop-la of that occasion, this one act, two actor chamber musical stood out as a theatrical gem. It was, in short, beautiful.
The programme informed us that since this show premiered in 2001, it had been described as ‘one of the most wildly celebrated song cycles ever written’ and also criticised as ‘too intelligent for its own good’.
Both aspects were displayed in this Geelong Lyric production.
The show’s simple storyline held no big dramas. It had no deaths, no revolutions, no crimes, even. It simply followed the five-year relationship between two young New Yorkers. Jamie, a Jewish writer, and Cathy an aspiring actor/singer.
They met, fell in love, married, drifted apart and separated in those five years, and each described in song their emotions at each stage. The 14 songs, all by Jason Robert Brown, were intelligent, emotive, happy, funny, poignant and at all times relevant. They told each individual’s journeys in personal, emotional terms.
But that wasn’t the clever part. That came because Jamie’s story was told in real-time chronological order, while Cathy’s went backwards, with her memories after the break-up.
This aspect was embodied in the play’s set, which was built around domesticity. Its clever design allowed the action to flow uninterrupted amid plants, lamps, books, papers and a number of bentwood chairs. Many of these elements were mirrored, suspended upside-down above the stage, giving a surreal physical presence to the reflections.
Also hidden amongst the household on-stage clutter was the show’s band, with MD Brad Treloar playing a partially-hidden grand piano; Patrycja Radzi-Stewart on violin, Ayrlie Lane on cello, Charlie Mackie on guitar and Chris Bortoletto on electric bass. This group’s faultless delivery of the show’s 14 songs allowed the two principals to individually shine.
And they certainly did.
This Last Five Years contained so many moments of musical perfection as Georgina Walker and Nick Addison delivered their emotions in song. They took us through all the stages of their relationship, its joy, discovery, realisation and sorrow, with sensitivity and a great deal of skill.
Their central numbers, when the theatrical timelines merged and diverged again as his proposal was accepted with their only embrace, then exchange and removal of rings was particularly moving.
Georgina’s crystal voice and clear diction gave beautiful, aching poignancy to her heart-wrenching numbers while Nick’s songs, which ranged from the rousingly joyous love-blinded Shiksa Goddess to the musical frustration of If I Didn’t Believe In You were each delivered to perfection.
That word, ‘perfection’ could be applied to just about every aspect of this production, from its finely chosen players to its elegant, efficient stage craft. Credit director Paul Watson’s sure touch.
But there’s more. Such is the importance of the duo’s performance that each has an able understudy able to slip into the role should a misfortune occur. These, parts too, were cast from Geelong’s wealth of singing/acting talent. They are Shani Clarke and Charlie McIntyre, and in a generous gesture, they get to take over on their own this coming Thursday.
Whether you choose that performance, or the following weekend when Georgina and Nick return, I can’t recommend this show highly enough.
It may have been rated ‘too intelligent’ elsewhere - but in Geelong on Grand Final night, this was a brilliant, thoughtful small gem of a musical.
- Colin Mockett
The Last Five Years directed by Paul Watson for Geelong Lyric Theatre Society. Peter Cannon Theatre, St Joseph's College Newtown, October 3, 2019.
This second review of one production came about because Jason Robert Brown’s micro-musical uses only two performers.
But so crucial are they that Geelong Lyric Society chose to rehearse understudies should either meet a mishap. This isn’t unusual, most musical shows do it, with the understudies taking lesser roles for most performances.
But that can’t occur in a two-handed show, so Lyric and director Paul Watson chose to stage this single ‘special performance’ using understudies Shani Clarke and Charlie McIntyre. This would justify the duo’s enormous effort of learning the show’s difficult and complex script without necessarily getting an on-stage chance.
But for this reviewer, it offered an unprecedented one-off opportunity.
It would identify and highlight the weight and worth of individual performances against that of a production’s overall design.
My original review had called Lyric’s The Last Five Years ‘a gem of a musical’, with the leads, Georgina Walker and Nick Addison ‘delivering performances close to perfection’.
The show’s simple, clever structure follows the course of a couple’s five-year relationship, relayed in songs.
But where his is portrayed in chronological order, hers is in reverse memory. So they really only relate together on-stage at a central point when their stories coincide.
It’s a truly intelligent piece of writing that calls for a deal of perceptive stagecraft. So you can understand why I relished the thought of this second showing with different performers.
In the event, and adding an extra intriguing element, I found myself seated next to Georgina and Nick, who were there, Georgina explained, to support their fellow cast members Shani and Charlie. “We’ve become good friends. They’ve been with us all the way,” she said. True to this, the off-duty duo warmly applauded each of the show’s 14 songs, and were first to rise to give Shani and Charlie their richly-deserved standing ovation.
For this was certainly not a second-string performance. Shani and Charlie were as word and movement perfect as Georgie and Nick had been five days previously. Their songs were delivered with the same vocal skill and security. Only differently.
Because Shani and Charlie brought their own takes to their on-stage personas. Where tiny, slim Georgina had played her actor/singer Cathy with an elegant fragility in high-heels and modish style, Shani was warmer, more down-to-earth and humorous, wearing sneakers and comfortable pants.
Where Nick’s writer Jamie had ridden his wave of success with joyous ebullience, Charlie was more studied, measured and controlled in the same part.
Both pairings had similar on-stage emotional chemistry, such was the casting care of Lyric’s production team.
But the small personal subtleties in delivery and looks altered the show’s general feel, without affecting in any way its story or outcome. That had been created and indelibly set by director Paul Watson’s sensitive and thoughtful treatment of Jason Robert Brown’s script. It was then enhanced by Brad Treloar’s immaculate musicians along with the sympathetic efforts of lighting designer Daniel Jow and sound engineer Ben Anderson.
And, in truth, that change in feel due to the Charlie/Shani performance was neither better nor worse than that of Georgie and Nick.
It was simply different. A modified slant on what remained an excellent small gem of of a musical.
And this reviewer had been allowed a second enjoyable bite - along with a rare insight into theatre’s magical creative process.
- Colin Mockett
The Vagina Monologues directed by Zina Carman for Stagecoach Productions. Price St Theatre, Torquay, September 13, 2019.
The first Vagina Monologues play took place 20 years ago and since then, the play has gone world-wide, having been performed in 140 countries and translated into 48 languages.
That information came from the programme’s opening paragraph.
This reprise production was aimed at raising money for local charities working to end violence against women, which currently, director Zina Carmen informed in a short welcoming speech, sees Australian women murdered at a rate of more than one a week.
The production’s aim was to raise $10,000 over two weekends, staged in Melbourne and Torquay.
It was hardly surprising, given the show’s title, content, and that published charity, that this first night played to a mostly female, hugely supportive audience.
But I’m certain that those few men who had accompanied their partners to Torquay’s opening night would have been as appreciative as this reviewer.
Because this Vagina Monologues was excellent on many levels. Its content was consistently powerful. It was, in turn, interesting, informative, shocking, humorous and deeply moving. It's presentation, by three smart adult white female actors was delivered with rare skill. It’s smooth, unsensational staging and matter-of-fact language, combined with that theatrical expertise, added impact to what was essentially a series of women’s stories told in short monologues.
For this was a play that delivered exactly what its title declared.
American writer Eve Ensler had interviewed 200 women in the late 1990s asking them a series of questions about a socially taboo subject - their own vaginas. Some queries were insightful, some were, ahem, probing, others were frivolous, like ‘if your vagina was to wear clothes, what would be its style?’
The elicited answers, tidied and edited, made up the play’s content. They were delivered, in character, by actors Sharon Corbier, Phillippa Adgemis and Roberta Reed-Stewart. Each was dressed in basic black, and each donned shoes to assume their (unnamed) characters.
Some were downright funny, like Roberta’s 72-year-old who hadn’t looked at her vagina for decades ‘there’s nothing interesting going on down there..’
Others, like Phillippa’s Bosnian refugee who had suffered weeks of military rape as part of Kosovo’s ‘ethnic cleansing’ were harrowing and received in pin-drop silence.
Few were as surprising as Sharon’s stilletto-booted sex-worker whose mission in life was explicit - and truly unusual.
All were fascinating, without exception. As were the background facts and statistics that linked segments.
Director Zina Carman’s decision to present the original play, without updates, showed its lasting impact as well as highlighting the lack of progress in many areas of gender equality. So many issues were intertwined with myths surrounding women’s sexual organs.
You’ll notice that I’ve kept this show’s content deliberately vague. This is not from coyness. It’s because I recommend you go see this show, and I don’t want to give away too many of its surprises.
The Vagina Monologues stands as an excellent piece of adult theatre on a well-known but seldom-aired subject - and this production supports a very worthy charity.
The show’s healthy first-night audience would have meant that the producer’s $10,000 target was reachable.
You can contribute to this - and enjoy a first-rate piece of theatre - by catching tonight’s final performance. It's heartily recommended for adults.
- Colin Mockett
School Of Rock directed by Rhea Walker for Saint Ignatius College. Playhouse, Geelong Arts Centre, September 12, 2019.
This rock musical has an immaculate pedigree, with music from Andrew Lloyd Webber (Cats, Evita), lyrics by Glen Slater (Tangled, Sister Act) and book by Julian Fellows whose credits include Downton Abbey and Young Victoria.
The show opened on Broadway in December 2015 and is still playing there. The Melbourne production, which opened in November 2018, is currently playing New Zealand after touring to Sydney, Brisbane and China. In its short four-year life, The School Of Rock musical has picked up four Tony Awards, three Oliviers, two Green Room Awards and a Helpmann.
With serious chops like that, it’s something of a surprise - and a huge coup for the people involved - that musical-mad Geelong’s first sight of the show is this school production from Drysdale’s Saint Ignatius College.
But what tremendous - and massive - effort the College produced, with an on-stage cast of 83 and just as many in support capacities. With numbers like that, it’s difficult to assign praise and recognition for presenting a show that glowed with musical energy, happiness, humour and no mean talent. But first credits must go to director Rhea Walker and her team of assistant producer Samantha Windmill, MD (and keyboard player) Linda Pape with her conductor Veronica Marrie, choreographer Kate Lehmann, costumier Kerry Horbowsky and production manager Attel Martschinke.
This group shaped those 83 young egos, harnessing their talents, especially their energy, to present a show that burst to life after a slowish, filmed start and then rocked the Playhouse with vibrant musical energy. There were 29 musical numbers - all fuelled by a rocking eight-piece pit band. The show, throughout, was lit up with nuggets of musical and stage brilliance.
The show’s lightweight storyline followed a laid-back musician who had cheated his way to a place as a temporary teacher in a prestigious US College, where he moulded his class into becoming a rock group preparing for a ‘Battle Of The Bands’ contest.
This pivotal role was played by Callum Branch with strong guitar skills and a growing stage authority which allowed his young charges to flourish. These were led by Coco Bullock’s remarkably accurate bassist performance; Storm Randall’s neat lead guitar, Sean Neylan’s reluctant keyboardist, Mackinley Watson’s tight drums and Kaitlyn Eastwood’s delightful surprise vocalist. Behind these on-stage musicians was a powerhouse of young acting/dancing talent led by Zoe Walker and Amy Searle’s jumping, dancing backing singers, Eliza Bermingham’s management and a classy on-stage group support comprising James Fuller, Heidi Bakker, Guy Wingrave, Kyra Beasley, Thomas Galan, Sophie Grant and Erin Robertson. The show’s adults were accurately portrayed by senior students Hannah Vella, Lachlan Whatman, Bailey Mitrovski, Jared Leo, Jack Woodfine, William Henry Palmer, Finn Ferguson-Cumming and most especially Jasmine Harvey, whose aloof headmistress revealed hidden operatic talents. But the production’s real authority came from that 60 strong dancing, singing, flick-flacking somersaulting ensemble that radiating energy, talent and such a wonderful sense of fun.
Hail, Saint Ignatius. It was a bold, audacious decision to stage this show - and all credit to you for carrying it off so well. Rock On!
- Colin Mockett
Two One Act Plays, directed by Iris Walshe-Howling for Anglesea Performing Arts. Anglesea Hall, August 24, 2019.
This theatrical session presented two modern plays of conscience. They shared a director, in Iris Walshe Howling, and an actor in Janine McKenzie, but then took very different paths to expose some major fissures in our community and basic humanity.
The first play, Slipped Through The Cracks, was written by Jules Allen, who is a foster parent and social worker. She used this experience to create a work of theatrical stealth that moves from the warm feel-good of a family unit helping disadvantaged children into much darker issues of trust.
This was played out with APA’s familiar theatrical care and precision, but pared down to a minimum. The play’s only props were two white-painted chairs that were used or ignored by six skilled actors who told their four-month story smoothly and effectively in a series of short smooth-flowing scenes.
It was easy to see why this play that took top honours at our regional one-act-play festival in mid August. Its acting was of a uniformly high standard, its subject matter moving and relevant. The audience sat in awed silence right through to an audible shocked reaction at a final twist.
Libby Stapleton was exemplary as the play’s central character, a harassed foster-mother guiding her family through a period of change. She had been pressed in an emergency to take in a new 14-year-old female foster-child while her husband, played by laid-back Philip Besancon, mostly away working.
The moody, temperamental, foul-mouthed girl, so realistically portrayed by Stacey Carmichael, revealed some reasons for her behaviour in tirades to her social worker (calm, concerned Janine McKenzie) as well as her new family. She’s befriended by foster-brother Morgan Caruana and the saga’s gaps are neatly filled by conversations with Julie Fryman’s concerned family friend.
I’ll not reveal any more, except to say those awards were thoroughly deserved most especially for the play’s realism and story - unfolding skills.
The second play, The Blood Cries Out Of The Soil, used a very different set of theatrical tactics. It was compiled by director Iris Walshe-Howling from Caryl Churchill’s anti-war work Seven Jewish Children. At centre-stage was a screen of back-projected images from 1930s German Jewish archives, that changed with the play’s dialogue and music.
To the left of the screen was a cluster of six actors, to the right two musicians, harpist Kerryn Viner and Kirstin Honey with her melodeon. This duo introduced and then interspersed the actor’s words with a series of Jewish-themed musical pieces, some instrumental, others effectively wailed.
The actors recited their poems in pairs, with Lina Libroaperto and Nikki Watson delivering a moving series of ‘Tell Her and Don’t Tell Her’ statements interacting with the images, followed by Somerset Arnold and Molly Lesosky Hay who portrayed and demonstrated the similarities between Jewish and Palestinian children with cleverly intertwined dialogue. The message was underlined by final pairing of Maggie Evans and Janine McKenzie reciting Ramzy Baroud’s poems justifying the stone-throwing rebellion of Gaza. Together, these two plays, plus APA’s skills, showed the astonishing potential for theatre not just to entertain, but to bring social issues into the community agenda. Bravo
- Colin Mockett
If/Then, directed by Nikki Arnott for Theatre of the Damned, Shenton PAC, August 23, 2019.
If you enjoy musical theatre (I’m guessing you do if you’re reading this) then you should see this show.
Here you’ll find everything that makes musical theatre good.
It had intelligent, adult writing with a relevant thought-provoking plot. That clever structure was highlighted with plenty of soft-rock songs with lyrics that were edgy, charming, poignant - and always pertinent.
It had a large well-drilled all-age ensemble cast that was led by half a dozen vibrant talented young lead actors who sang, danced and acted with professional-level skills.
And it featured a true star performance by lead actor Sophie Collins.
It’s a matter of great pride that they’re all from Geelong.
If/Then is an awarded 2014 American musical set in modern New York that has not played in our region before.
That’s possibly because it has challenging staging and casting. It can’t be from lack of pedigree or quality - the show was written by Brian Yorkey and Tom Kitt, who were responsible for the equally multi-awarded Next To Normal. Like that hit show, If/Then has an innovative storyline inside a driving rock-opera format. Only this was probably more memorable because of its relevant, intelligent adult themes.
The If/Then storyline follows the emotionally vulnerable, childless Elizabeth in her attempts to rebuild her life in New York after a failed provincial marriage.
Sophie Collins played her to perfection with a beautifully balanced, complex interpretation wrought with tragedy, joy, triumph and humour. All this was underlined by that emotional fragility and highlighted with her absolute control of the show’s vocal challenges.
Hers was, in short, a masterful performance.
But then, because Elizabeth was a planner and forward thinker, we audience were given access to her thoughts and fears. We could preview her future possible pathways, live on stage. Hence the If/Then title. This took a scene or two to comprehend, but then became a compelling theatrical device. But one that called for some nimble theatrical footwork and ultra-quick costume changes.
So we were witness to Sophie’s complex interactions with best friends Noah Vernon and Tessa Reed and by association, their partners David Van Etten and Jenn Stirk - all of these were portrayed in depth with strong acting and singing skills.
We were wise to Elizabeth's divided thoughts about her devious, ambitions boss, Brad Beales, and her insecurities with new suitor Nick Addison - two more portrayals of rare understanding. All these strong lead characters were moved and sung with theatrical precision. That applied, too, to her sympathetic PA, Melissa Warren, and, in a number of roles, Courtney Yengi and Casey Reid.
This list was well supported by Trent Inturrisi, Gemma Eastwood, Thomas Membrey, Liam McWhinney, Ella & Derek Ingles, Rick Peacock, Jacob Goulding, Mary-Ellen Hetherington, Rick Peacock and Leticia Bayliss playing multiple roles with elan.
All were superbly drilled and much credit should go to director Nikki Arnott and choreographer Tegan Drever for staging such a complicated set of interacting scenarios on the awkward Shenton stage. Much credit, too, to musical director Eric Von Ahlefeldt and his orchestra which though uncredited in the programme, deserved recognition for a near-faultless performance. Final kudos to Ben Anderson, whose sound was as ever, flawless.
Go see this musical. If you do, Then I promise you won't regret it.
- Colin Mockett
Great Moments, presented by The Geelong Chorale directed by Allister Cox. St Luke’s Church, Highton, August 18, 2019.
In the seven years since Allister Cox was appointed director of Geelong’s premier choir, he has set the group plenty of musical challenges.
In the past year alone, the Chorale brought an intensely moving In Remembrance commemorating the anniversary of WWI’s ending, as well as their complex collaboration Sound The Trumpets celebration in St Mary’s Basilica.
This concert arrived almost as a release from all that musical concentration. For this was easy, fun, and happy, both in its choice of material and delivery.
That cover-all title, Great Moments, carried the sub-text ‘Arias, duets and choruses from some of the best-loved operas, operettas and musicals’.
In practice, this came down heavily in favour of operatic choruses (9) to four operetta pieces and three extracts from musicals.
The programme neatly grouped each segment together with the Grand Operatic choruses up front before an interval, then the light opera and ending with a big Hollywood musical flourish.
So we began with Verdi’s joyful Brindisi from La Traviata and ended with an equally exuberant rendition of Rodgers & Hammerstein’s Oklahoma!
In between we heard a delightful musical selection delivered with a good deal of spirit and skill by the Chorale and its guest soloists Lisa Breen (soprano) and tenor David Campbell.
Such was the level of bonhomie that the two soloists, seated to one side when not called upon to sing, nevertheless joined in with most choruses including a memorable moment when the ebulliently jovial David couldn’t resist singing Bernstein’s West Side Story I Feel Pretty along with the female chorus.
He had previously delivered a wonderfully romantic solo of Donizetti’s Una Furtiva Lagrima from L’elisir d’amore as well as leading the Chorus’ tenors and basses in two lusty numbers, Tower Warders from G & S’s Yeoman Of The Guard and You’re Back Where You First Began from Franz Lehar’s The Merry Widow.
For her part, Lisa gave us a beautiful solo version of Un bel di vedremo from Puccini’s Madam Butterfly as well as The Merry Widow’s Vilia. As a reviewer and performer I’ve experienced Lisa’s singing in many capacities for more than 20 years, and I don’t think I’ve heard her sing better. This was especially evident when she led the full Chorale in an a cappella version of Gershwin’s Summertime from Porgy and Bess. This sublime moment was, conversely, the only piece that had not involved Kristine Mellens’ skilled piano accompaniments.
Lisa and David joined, both individually and as a duo, with the Chorale in their spirited versions of big favourites The Anvil Chorus, Wedding Chorus and Voyagers Chorus, while deputy conductor Anne Pilgrim led the Chorale’s Sopranos and Altos in Verdi’s Witches Chorus from Macbeth.
Director/conductor Allister Cox introduced each work with his familiar charm and depth of knowledge - along with some carefully chosen humorous insights - while at the finish, soloists Lisa and David spontaneously left their seats to squeeze on to the Chorale’s rostrum and deliver those joyful Oklahoma! whoops.
It was a moment that captured exactly the energy and cheer of what had been such a skilfully delivered but delightfully lighthearted musical afternoon.
- Colin Mockett
Refined, unadorned history-making musical perfection
Terra Australis presented by The Australian Chamber Choir directed by Douglas Lawrence. St Mary’s Basilica August 11, 2019.
This concert had three distinctive features. First was the Choir’s ‘no sauce’ policy, adopted last year, which saw the group dedicated to presenting the best choral music as perfectly as possible without any distraction. This meant there were no lighting effects and accompanying images or explanations other than the comprehensive programme/booklet. This was needed because of its innovative Terra Australis theme, which essentially married some great choral works with the dates of Australia’s settlement and many ‘discoveries’. Some pieces were well-known - by Beethoven, Debussy, Mendelssohn, Bach and more - while others were new and performed for the first time during this concert’s tour.
For this was certainly not a one-off event. The Choir had presented it first in Melbourne on June 16, before taking it to a series of European venues. These included Copenhagen, Berlin, Paris, London (at St Martin in the Fields church) with Geelong the penultimate concert of 16. After our Basilica, the Choir’s final Terra Australis performance will be in the Great Hall at the University of Sydney on August 25.
The third effective feature was the weather - cold, wet and windy - which provided occasional background sound-effects and a much smaller audience than would have been anticipated. But that rugged-up audience was highly appreciative of the beautiful works they heard- even if their applause was a little muffled, delivered by gloved hands.
Because this was a concert of rare musical quality. The chosen works were challenging and difficult in their harmonic complexities and that ‘no sauce’ policy meant that there was nowhere to hide should there be even the ghost of a wrong note. But it was evident from the outset that was not going to happen, for every member of the 18-strong choir was an individually talented singer and their combined voices were nothing short of superb. They had clearly benefitted from the long international run-up because in our cold, hard-surfaced Basilica they brought a concert of significant masterworks delivered with masterly precision.
The unaccompanied voices soared and swooped throughout the venue’s acoustic space, with interweaving patterns resounding in glorious celebration. For the majority of the works were ecclesiastic; most of the themes splendid.
But those European works were bracketed - and contextually completed - by the modern pieces of Tom Henry, who gave musical wings to the poems of Bill Neidjie in his Kakadu Man.
For this Terra Australis gave every credit to our nation’s first people.
Director Douglas Lawrence’s preferred positions for his choir appeared to mix voices, eschewing the traditional formations which group sopranos, altos, tenors, basses together. This contributed to its complex and complete bell-like unity. At times the Choir changed positions, altering patterns and tones. There were also works sung by a trio, smaller groups and an all-male chorus. Each was delivered in superb, immaculate style. In all, this was a concert of beautiful, refined and significant music delivered perfectly in an excellent venue under challenging conditions.
What else is there to say but - Bravo!
- Colin Mockett
The Four Seasons with Rebecca Chan presented by Geelong Symphony Orchestra, Costa Hall, August 3, 2019.
Vivaldi’s Four Seasons suite has to be among the world’s favourite pieces of classical music, even though, conversely, many people wouldn’t know its title. In the 21st Century, the work has been chopped up and used for everything from TV commercials to film scores to phone-hold and background elevator music.
And again, for such a well-known work, it is relatively rare to hear all four segments brought together as a concert piece at a single sitting.
There are reasons for this. The works, written for stringed instruments, use only a chamber orchestra, not a full symphony. And when performed together, their duration is still shorter than expected for a modern musical concert.
But that didn’t deter the GSO, which presented the works in a splendidly spirited Saturday afternoon session led by a truly world-class musician in Rebecca Chan.
The result left its Costa Hall audience delighted - and awed.
The pared-down GSO consisted of just 20 players; 12 violins, three violas, three cellos, a double bass and harpsichord.
Dressed in formal black, the players mostly stood to perform on the otherwise empty Costa stage.
And, while the orchestra was reduced, their programme had been expanded, with the addition of an extra concerto from Vivaldi and a complimentary work by JS Bach.
There was an extra element, too, with GSO president Wendy Galloway adding clear, concise and informative introductions to each piece.
But topping all this, was the brilliance, glamour and style of Rebecca Chan.
The brilliance from her masterful performance; glamour as she swayed and sashayed every note in her signature flame-red dress - and style from her polished leadership of the players around her. For this ensemble had no other conductor. Rebecca transmitted her directions through the faintest gestures while playing. These were tiny glances, minuscule shrugs and flashes of eye-contact with the other players, most notably with concertmaster and GSO leader Olivier Bonnecci.
Together, these two drew from their players a series of flawlessly energetic virtuoso performances, first of Vivaldi’s Spring, with its chirruping birdsong, then a warm and languid Summer, before Rebecca left the stage and Olivier led a reduced ensemble, (three violins, three violas, three cellos bass and harpsichord) through a splendid performance of Bach’s Brandenburg Concerto no 3, with its melodic echos of Vivaldi’s works.
After an interval came Vivaldi’s Concerto in B minor Op 10, which has a rolling format using four violin soloists. These were Rebecca, Olivier and young Geelong players Jamie Parker and Amy You. All were faultless and flawless in their demeanour and musicianship, with Amy channeling Rebecca in a flowing crimson gown.
She quickly changed back to black uniform during Wendy’s introduction for the next, concluding two Seasons, Autumn and Winter, with their musical depictions of hunting, thunder, lightning and cosy warm firesides all delivered with the concert’s now-familiar masterful energy and skill.
It all made for a vibrant, brilliant and totally memorable concert.
Rebecca last played with the GSO in 2016 when they performed Tchaikovsky’s violin concerto together.
That, too, was memorable, leaving a strong anticipation for the next collaboration. Please may it be soon…
- Colin Mockett
Violins: Rebecca Chan, Olivier Bonnici, Kathryn Buttigieg, Lydi Chan, Martin de Marte, Lara Fuller, Eve Gu, Georgina McCowan, Jamie Parker, Patricia Radzi Stewart, Rita Sousa, Amy You, Rachel Williams.
Violas: Alison Feiner, Marcus Allport, Jennifer Ingram.
Cellos: Timothy Oborne, Lachlan Dent, Nils Hobiger.
Double Bass: Ivan Sultanoff,
Harpsichord: Beverley Phillips.
The Sound of Music, directed by David Mackay for CentreStage, Geelong Playhouse, Geelong Performing Arts Centre, July 20, 2019.
Before entering the theatre on Saturday afternoon I sat in the foyer aware of the high pitched voices of excited children and wondering if the performance I was about to see would justify the same levels of anticipation in me and other adults in the audience. In response to that rhetorical question, let me say that I have rarely, if ever, sat through a musical with such a warm, comfortable and highly appreciative smile on my face. But that is what CentreStage’s The Sound of Music did for me. I was a teenager when the show was first performed in 1959 and that enabled me to understand the historical context of the story. But that said, among the issues tugging at my facial muscles was the sheer beauty and genius of the Rodgers and Hammerstein music and script, the high quality of the acting and choreography, the superb sets and costumes, the innovative lighting and the inspirational singing.
This production was a mammoth effort, with 70 performers, 35 musicians and 150 additional volunteers and helpers. Is it any wonder that Centre/Stage is described as Australia’s Largest Amateur Theatrical Company? I wish I could mention all the performers but that is impossible in this space. After all there were 40 nuns and postulants in opening scenes alone (and all with glorious voices).
Georgia Nicholls played Maria (Maria Rainer for the pedantic). This is a demanding role made all the more challenging by our collective memory of Julie Andrews. Georgia succeeded in making the role her own. I particularly noticed the manner in which her facial expressions responded clearly to the circumstances in which she found herself such as kneeling in penitence before the Mother Abbess or the bewildering excitement she felt when she found herself in the arms of Captain Von Trapp. Maria’s scenes singing with the Von Trapp children were a tear-inducing highlight of Act 1.
The role of Captain Georg Von Trapp was played by the impressive Jordan Reid. Jordan captured both the authoritarian nature of Captain Von Trapp in his relationship with his children and the sensitivity of a tormented Austrian who, after Anchluss watched his country become part of the Third Reich. His singing Edelweiss with the family at the festival in Act 2 beautifully captured his sensitivity.
Howard Dandy played the crafty Max Detweiller with humour and endless perseverance… An accomplished performer comfortable in his role.
A highlight of the show for me was Mother Abbess played by Nikki Arnott singing Climb Every Mountain. Her voice and demeanour were totally convincing and created one of the those moments in the show in which I blinked to keep the tears at bay.
Tara Vagg was perfectly cast as Baroness Elsa Schrader. She had a natural beauty and elegance and displayed a grim determination to do what is best for her.
There were two teams of Von Trapp children named after writer composer Richard Rodgers (1902–1979) and lyricist-dramatist Oscar Hammerstein II (1895–1960). With Liesl (Jess Wynhoven) and Friedrich (Lucas Rankin) Hammerstein’s cast was on duty on Saturday afternoon. Louisa was played by Elyssa Jeffreys, Kurt, Jake Marshall; Brigitta, Milla Scott; Marta, Sophie Kearney; and Gretl, Molly Martin. Without exception the children were superb both musically and choreographically. Their scenes with Maria singing singing Do-Re-Mi and My Favorite Things were among the shows highlights.
I can’t leave the Von Trapp family without mentioning Liesl (Jess Wynhoven) again. The scene between Liesl and potential boy friend Rolf, played by Eric Von Ahlefeldt, was funny, sensitive and so very genuine.
The revolving stage added immensely to the show in terms of continuity and quality. It permitted construction of a number of very sophisticated sets, the major ones portraying the convent and the interior and exterior of the Von Trapp family mansion. The latter sets were tall and contained a large number of windows, thus enabling some innovative lighting going into and coming out of the house. The attention to detail in the set was manifest at the end of the play when, in the garden of the Abbey, the family decided that they will have to walk over the mountains to safety in Switzerland and with Captain Von Trapp carrying Gretl the family climbed up partially hidden steps into the mountains and in our minds, on, on and on to Switzerland.
I know there were others who played minor roles and who merit a mention here, but I hope it suffices if I say that this was a show with few if any weak spots or characters.
In short, this is a must-see show. I can’t be more explicit.
- Bryan Eaton
Celebration. Closing concert of Geelong’s 11th Windfire Festival, St Mary’s Basilica, May 26, 2019.
This concert began with an Organ Fanfare, ended with a celebration mass written for Geelong - and in between contained a wonderful range of music.
It had several last-minute shuffles and substitutions, most notably MC Colin Mockett for John Stubbings who was recovering from heart surgery, and soprano soloist Teresa Duddy who had been brought in at ultra-short notice after Sally Wilson pulled out that morning with a chest infection. That particular bug had also, we heard, wrought havoc among the soprano sections of the concert’s nine choirs. Not that the audience in a packed Basilica noticed, for the re-arranged and recast group still provided a memorable event to officially close the 11th Windfire Festival in rare style.
The concert opened with an organ fanfare, Fantasy For Organ, written by Denis Bedard, played by Frank De Rosso high in the Basilica’s organ loft. The ringing rafters not only gave us a lilting welcome, it set the scene for the concert’s contrasting colours and rhythms. It began with a gentle, tuneful opening before moving to a more pompous forte crescendo.
Next followed the Sonos Wind Ensemble, with flute, clarinet, oboe, bassoon and French horn playing three pieces by Jaques Ibert.
The first very busy, the second gentle and tuneful and the third had a calm and flowing feel. This piece displayed the delightful way the five instruments complemented each other.
The Sonos Ensemble- an all-Geelong group of professional musicians - then played another three short pieces, this time Shanties, by Matthew Arnold. These jaunty, almost comical pieces moved from variations on What Shall We Do With The Drunken Sailor, through finely built contrasting patterns and rhythms.
Then came a complete change of tune. We heard a small South American delicacy, Sous de Carrilhoes (sound of bells), written by Brazilian Joao Pernambuio, and expertly delivered by Maximillian Rudd on his guitar.
The Basilica’s acoustics were such that we could enjoy every note, despite the howling wind outside.
But then things were to be considerably warmed up when three pieces from Handel’s Messiah were sung by the combined choirs of Geelong accompanied by Orchestra Geelong all controlled with confidence by conductor Tom Healey.
The delicate There Were Shepherds Abiding In The Field, was beautifully delivered by soprano soloist Teresa Duddy, followed by a rousing Glory To God from the choirs. Then the full force of a glorious Hallelujah Chorus delivered by the massed choirs of Bellarine Ecumenical Choir, Coryule Chorus, The Geelong Chorale, St Mary’s Basilica Choir, St Paul’s Choir, Vox Angelica, Geelong Chamber Choir, Wildfire Chamber Choir and Wondrous Merry.
After a short iInterval, the Sonus Wind Ensemble returned with Carl Neilson’s Wind Quintet opus no 3, Allegro ben moderato and Menuetto. These pieces allowed each instrument the opportunity to play the melody line before delicately interacting.
Then came Percy Grainger’s Irish Tune - essentially a really sensitive arrangement of The Londonderry Air - (or Danny Boy) given extra depth from the oboe and horn.
The mood then changed again with the strident syncopated rhythms of Argentinian composer Astor Pizzola’s Libertango
Orchestra Geelong returned, this time under its regular conductor Mark Shiell, to play two of Antonin Dvorak’s Slavonic Dances, No 1 and 8. The changing rhythms and big orchestral sounds allowed yet another contrast to what had gone before.
Finally came the high point of the afternoon, a Celebration Mass, composed especially for Geelong by the New York-based Australian composer Nicholas Buc. This had been commissioned in 2005 by Tom Healey, at that time, director of music at Geelong Grammar, to celebrate the school’s 150th anniversary.
Fittingly, Tom took over the baton for the massed choirs and orchestra to deliver the lyrical Kyrie, subtle Gloria, lively triumphal Sanctus and reflective Benedictus, again featuring delightful soloist Teresa Duddy
All together, this concert made for a wonderful smorgasbord of music on a cold and windy afternoon. And it was so much more comfortable for those of us who had remembered to bring a cushion.
- Shirley Power
So much more than jazz in a church
The Metamorphoses Project, presented by the Chris Skepper Jazz Quintet and guests, part of Geelong’s Windfire Festival, All Saints Church, Newtown, May 24, 2019.
This was groundbreaking stuff in an unlikely venue.
That’s unlikely, not unsuitable. Because the venue - a Victorian era bluestone church on the outskirts of Geelong’s CBD - was selected for its excellent acoustics. And those acoustics gave the concert’s small but appreciative audience, the clearest, cleanest perception of an expert investigation into crossed musical genres.
For the core of this ‘project', (for project, read concert) was to present classical music played by a modern jazz ensemble.
This was, as Chris Skepper, the band’s leader and music arranger explained, both inventive and unprecedented. “This sort of thing is not going on anywhere else in Victoria, including Melbourne,” he explained. “Windfire and Geelong should be congratulated in taking such an advanced initiative.”
His message was well received, not just by the audience, but by one of the group’s prestigious guests, organist Frank De Rosso, who is the Windfire Festival’s artistic director.
The other guest performer was pianist Wendy Rechenberg and both these classical musicians were primarily used to introduce selected works, most frequently playing the piece’s recognisable intro which would lead the group to riff away its melody into their own domain of modern jazz. The group’s line-up was most often trumpet (Chris Skepper) and saxophone (Stephen Murphy) with a rhythm section of Vince Hopkins (guitar) Geoff Woods (double bass) and Chris Lewis (drums). It’s my guess that this would have been the first time that such a combo had resonated All Saints’ rafters in the church’s long history.
The concert comprised nine pieces, not all of which were in the experimental format.
Included was an organ solo of variations of the hymn ‘Amazing Grace’ played by Frank De Rosso minus his shoes, which were parked neatly behind his seat. His socked feet presumably allowed greater control for one of the variations which was ‘hands free’ - played only on the instrument’s pedalboard and giving the audience a wonderful view of Frank performing a delightful seated tap dance with both hands gripping his bench for stability. The other non-metamorphing piece was an original jazz number by Chris titled ‘Don’t Know’.
The concert had begun with Dietrich’s Passacaglia in D minor which probably was the least effective inside the context, with the thunderous organ having little in common with the cool jazz notes that followed.
But it was followed by Beethoven’s Prelude No 2 Op. 39, led in by Wendy’s piano, which was a much neater fit.
And then came Bach’s Air in D String - provoking memories, but not mimicking the Jacque Loussier Trio version from the 1960s.
For Erik Satie’s Gnossienne, Stephen switched his sax for clarinet, Chris picked up his fluegelhorn, and their jazz notes could have graced a synagogue rather than the church venue.
Wendy’s piano interlaced beautifully with the band for Chopin’s Prelude No 24 Op.28, and the whole septet combined for Arvo Part’s Fur Alina - with Frank’s socked feet now providing an effective underlying drone - and the whole concert finished on an effective, triumphal note with Handel’s Hornpipe from Suite in D for orchestra.
The Metamorphoses Project was unusual for a number of reasons. It’s not the first time I’ve seen a jazz combo in church, but it was unusual to see each member concentrating so intently on keeping to their scores. And the venue was acoustically perfect. In the end, this project was enormously entertaining, interesting - and most certainly worthwhile.
- Colin Mockett
A calm musical oasis in the city
Organ Plus One, presented by Frank De Rosso and Shannon Ebling, part of Geelong’s Windfire Festival, in St Mary’s Basilica, Yarra St., May 22, 2019.
This small, quiet, free concert had to be the among the purest forms of musical entertainment.
For the venue was St Mary’s Basilica, where the acoustics are perfect, but the venue's hard wooden pews are all aligned toward the altar, while the two performers were situated in the organ loft - a balcony high at the rear. Although there were static-camera images of the performers projected on to the venue’s two small screens, most of the audience appeared satisfied to sit with eyes closed to allow the music to flow past and around them. For much of the concert’s chosen material was meditative, reflective - or lilting enough to encourage that thoughtful state. This atmosphere was enhanced by a complete lack of distraction. There was no introduction, and between each musical piece, merely a break of perhaps thirty seconds- just enough time for polite applause.
And it was well deserved, for the musical combination of Frank De Rosso at the Basilica’s Fincham organ with Shannon Ebling’s saxophone(s) was excellent, their execution flawless. This, coupled with their position high in the rafters, sent their music resounding and re-echoing throughout the venue, which further enhanced those contemplative elements.
The concert began in stirring style, with Hans-Andre Stamm’s Under The Starry Sky, before moving to a more lyrical and tender feel with the same composer’s Romance. Then came an organ solo with two pieces from modern composer Carson Cooman’s Gregorian Diptych. The first, a pensive Adoro te devote, the second the thundering, triumphal Da pace Domini.
Then followed the beautifully reflective Prayer of Saint Ambrose with Shannon’s alto sax soaring over Frank’s sombre bass notes, before Shannon switched to his soprano sax to play David Conte’s modern jazz-flavoured Aria. Then followed another organ solo, this time Malcolm Archer’s pretty Sicilienne which led to the concert’s resounding - and curiously satisfying - finale. This was George Philip Telemann’s Polonaise and Rejouissance, a glorious celebration of intricate and interweaving musical patterns.
The Windfire Festival’s free 30-minute concerts in fine acoustic venues throughout our city are an excellent initiative, making, as they do, an unexpected calm musical interlude inside, what is for most of us, the frantic pace of today. This was no exception.
- Colin Mockett
Modern Three Sisters excel in the Memory
The Memory of Water, directed by Sandy Fairthorne for Torquay Theatre Troupe, Price St Theatre, Torquay, May 13, 2019.
In many regards, this was a perfect play for the Torquay Theatre Troupe in that its small format and unchanging set suited their venue’s restrictions. It was also a typical presentation for the company in that they had selected a well-written work and then staged it on a neat, accurate set with some clever touches to overcome those space restrictions.
And again, in another regular TTT feature, this Memory of Water introduced two fresh faces to the region’s theatre scene, both skilled actors.
So it’s small wonder that the house-full preview audience appreciated this play with long, warm and sincere applause. For this was a fine piece of modern theatre that had been very well presented.
The play’s storyline centred around three adult sisters who had returned to their northern England family home in order to bury their recently deceased mother. They each exposed long-suppressed memories and sibling rivalries that, from a theatrical standpoint, brought about moments of laugh-out-loud comedy and heart-rending truths. At its base the storyline held an honesty of our modern human behaviour that was recognised and therefore resonated through its audience.
Much of this was due to director Sandy Fairthorne’s sure touch and the quality of her acting pool.
This was led by Kathryn O’Neill’s convincing performance as elder daughter Mary, a successful, obsessive, driven medical practitioner who was conducting an affair with a married man and who also held a repressed secret. Middle sister Teresa had taken the alternative route to natural medicine and products, and, in the hands of TTT newcomer Frankie Swithinbank, came over as controlling, awkward and wonderfully, comically frank when plied with unaccustomed alcohol. The youngest and self-proclaimed prettiest sister, Catherine, played by another newcomer, Skye Staude, was the catalyst for much of the play's comedy antics in that she was beautifully tuned out most of the time while harbouring resentment that she, the sexiest sister, had failed to find a permanent partner. Her interaction with her sisters and, especially, their hapless partners brought many of the play’s elements of high comedy. Those men were portrayed by Michael Baker and Ethan Cook. The former’s acting skills bringing authenticity to his unsympathetic role as an insincere two-timing doctor, while the latter appeared totally at home as a downbeat put-upon alternative-medicine salesman who didn’t really believe in his products. Adding to all of the above, Claudia Clark appeared briefly but effectively as the spirit of the dead mother to sharply insert her acidic viewpoint into Mary’s dreams. This The Memory of Water was an excellent piece of theatre from a first-class non-professional company. Go see it, you’ll love it. And you’ll come away awed at what this company can do with such slim resources. I personally look forward to seeing what TTT will do in a real theatre once the Surf Coast Shire finally halts its procedural dithering and provides one. - Colin Mockett
It’s a Bird, It’s A Plane - It’s Superman! directed by Shayne Lowe for Theatre of the Damned, Shenton Theatre, May 10, 2019.
I have to admit to a soft spot for Geelong's Theatre of the Damned and its policy of bringing fresh musical theatre to the region. This was the fourth musical the company has staged with only one, Chicago, on the regular performance circuit.
It’s a Bird, It’s A Plane - It’s Superman! was first presented on Broadway in 1966, and although it ran for 129 performances, and garnered three Tony nominations, it failed to ignite much international interest.
So this Geelong performance was, to the best of our knowledge, the show’s first staging in our region, if not in Victoria.
That’s not surprising, for the show calls for six lead performers, all of them with the ability to sing, dance and act.
Director Shayne Lowe’s ToTD cast was particularly strong in this regard, with her six leads triple-threat talented - and more.
For not only could they act, sing and dance with polish and style, they did it all with their tongues firmly lodged in their collective cheeks.
Because this It’s a Bird, It’s A Plane - It’s Superman! was a delightfully cheerful, cheeky send-up of the whole superhero concept. It bought as much laughter as applause from its packed opening night audience.
The show’s plotline was, of course, predictable, lightweight and daft. The citizens of Metropolis, safe and secure thanks to the efforts of their crime-fighting superhero, found themselves under threat from a mad scientist, who, teamed with a bunch of Greek acrobats and a vengeful journalist, targeted Superman’s popularity in their quest for world domination. For a while they succeeded, and who would have thought that without his self-esteem, Superman would become an introverted, couch-lounging messy slob?
There was the compulsory love interest, of course, some wacky special effects, and plenty of bright, upbeat 60s-era songs backed by a tight eight-piece musical ensemble led by Eric Von Ahlefeldt.
All this was dressed in colourful costumes with some neat choreography from Tegan Drever. This ranged from a tap-dance courtship duet between Tara Dunstan’s sweet Lois Lane and Andrew Coomber’s offbeat nuclear scientist, to a Hollywood-style soft-shoe routine between vengeful journalist Liam Erck and mad scientist David Van Etten. The former was all slender, graceful flexibility while the latter buzzed with wild-haired energy.
As Superman, Thomas Membrey was perfect. Sometimes a delightfully naive muscled poser, other times confused by events and occasionally revealing a singing voice as strong and manly as Tara’s was bell-like and feminine.
As a bonus, beside these five strong lead performers, Aashley Oakes regularly stole scenes with her sultry, sexy siren of a put-upon rejected suitor.
The ever-versatile Trent Inturissi led a strong supporting ensemble which included a trio of pint-sized villains in Guy Wingrave, Riley Drever and Ryan Milich who were regularly ‘Zapped’ and ‘Powed’ by our hero. They, with Brooke Chapman, Jake Beasant, Jasmin Wilson, Katelyn Williams, Liam South, Nikki Arnott, Patrick Bongiorno, Rachel Helwig and Seth Baxter included plenty of scene-shifting along with their on-stage commitments.
It’s A Bird, It’s A Plane It’s Superman is of course, quite ridiculous. But it's also wonderfully, happy, tuneful grin-making fun.
And it showcases a whole batch of Geelong’s highly talented young performers.
The show continues in the Shenton until May 18, and I highly recommend you go see it. You’ll be infected with its happiness.
- Colin Mockett
Trumpets Sound With Wind And Fire
Sound The Trumpet, presented by Geelong Chorale directed by Allister Cox, St Mary’s Basilica, May 10, 2019.
This, the opening concert of Geelong’s annual Windfire Music Festival, proved perfect for the occasion. It was a memorable concert that took full advantage of the Basilica’s superb acoustics.
My initial impression was of a warm, welcoming atmosphere with hanging glass lanterns and glowing radiators. A welcoming address from from Fr James Clarke led to a stirring, resounding intro, Entrata Festiva, a modern (20th Century) piece featuring Daniel Ballinger and Sarah Hepworth’s trumpets, Melissa Shirley’s horn, Stewart Armitage’s trombone and the Basilica’s thundering, mighty organ played by Frank De Rosso. Then the Chorale members entered, only to disappear again as they took up positions in the acoustic sweet-spot in the space behind the venue’s original altar.
The blend of their voices, without accompaniment was perfect in its resonance as they sang Guerrero’s Cantite tunba in Sion. That musical contrast between first and second items assured us in the audience that we were about to experience a programme of thoughtful excellence.
The choir then moved into sight at the front of the original altar, resplendent in their neat black and red, and Allister Cox introduced us to three works from the 16th century. First, Jacobus Gallus, whose Pater Noster used choir and brass to excellent, full and harmonious effect, followed by an a capella rendition of Giovanni da Palestrina’s calm and beautiful Sicut Cervus.
This was followed by Scarlatti’s glorious Exultate Deo with its joyful praise to God ringing throughout the rafters.
The choir changed position once again to risers on the right of the first row of pews, allowing the brass to move closer on the left.
Together they presented Gabrielli’s Canzona ´a 4 with sympathetic style.
Then followed a sharing of brass and voices to present the music of Hassler’s Missa Octo Voci, sung in Latin and accepted with warm applause.
At one point the director’s microphone failed mid-introduction, but Allister simply raised his voice to be clearly heard, demonstrating the excellence of the venue’s acoustics.
After a short interval the concert took a more modern, contrasting turn with Christopher Willcock’s challenging Easter Moon. The composition’s strident and sometimes pensive tones were handled with accomplished ease by choir and musicians.
Then came an unusual inclusion, with three different versions of Ave Maria, from Bruckner, Biebl and Laurisdsen. Allister explained that he had chosen them as appropriate because of the venue, (St Mary’s Basilica) as well as referencing the forthcoming Mother’s Day. The subtle differences and variations of tune and style added a deal of interest as the pieces were sung consecutively.
Then followed a triumphal and stirring Grand Choeur Dialogue with Frank De Rosso at the organ and the Choir in full voice, thundering down from the venue’s choir loft.
The concert finished on a different, but equally stirring note with the brass leading into voices to present Pachelbel’s rousing Nun Danket all Gott.
Taken together, this concert set the Windfire Festival to a stirring start while demonstrating our city’s exceptional quality of musicianship and choral abilities.
- Shirley Power
The Importance of Being Earnest directed by Elaine Mitchell & Julie Fryman for Theatre of the Winged Unicorn, Ceres Hall, May 3, 2019.
Quite apart from taking one of the lead roles of Algernon, Alard Pett is named in this play's programme as it’s set designer, properties manager and part of the construction team.
In the director’s notes, he’s credited as the instigator of the project - conceived over a coffee with producer/director Elaine Mitchell - and further thanked for his creative vision behind the production.
If Alard's name isn’t immediately familiar to you, it should be. He was the director and creative force behind Geelong Rep’s memorable 2017 production of George Bernard Shaw’s Pygmalion, which won awards and plaudits while quietly lifting the bar on the standard of non-professional theatre in Geelong.
Now, with the smaller Theatre of the Winged Unicorn budget and stage, Alard has achieved a similar experience with another classic play, this time Oscar Wilde’s ‘trivial comedy for serious people’ The Importance Of Being Earnest.
This production shared much with that remarkable Pygmalion in its detailed authentic settings, its painstaking attention to detail, and its emphasis on theatrical accuracy and integrity. It also shared the same leading man in Ben Mitchell, who played Prof Higgins in Geelong, and now Jack Worthing in Ceres.
But then, this production has also absorbed the homely, artistic, friendly culture that typifies Theatre of the Winged Unicorn’s plays. Apart from the friendly introduction and homely interval supper, it used skilled, experienced actors from the Unicorner’s talent pool who were rehearsed to word and movement perfection.
It also introduced a new element, in that the players were dressed in eye-catching bespoke Victorian costumes from stylist/seamstress Bridget Dustan.
And all that preamble goes to explain why this production was so well received, with its packed opening-night audience laughing and applauding throughout.
For what Alard, Elaine, Ben, Bridget and the ToWU team had done was to provide the perfect platform for the sharp, sparkling diamonds in Oscar Wilde’s vintage wit.
Because, along with all the style, sophistication and skills employed, the real star of this show was probably its 124-year-old script.
The audience’s rapid and consistently regular laughter was testament to the timeless quality of Oscar Wilde’s writing.
All the ToWU Ceres team needed to do was ensure that it was delivered with as much clarity and authenticity as it was when first presented at the turn of the 20th Century. And they did this in rare style.
To this end the play’s central seven characters were suitably cast with Alard’s off-hand wilful Algernon neatly balancing Ben’s stodgier, principled Jack, with both decidedly Earnest when it came to the fairer sex. This was represented by Jocelyn Mackay’s elegant schemer Gwendolen and Stacey Carmichael’s dreamy innocent Cecily, whose elegant outfit perfectly matched her dewy blue eyes. Miriam Wood gave us a wonderfully confident and dominant Lady Bracknell. Marylin Nash and Allister Cox provided delightfully dithering support as Miss Prism and Rev Chausuble, while David Marrie and David Keene were a pair of upright, subtly snobby butlers.
And the background to their skills were three superbly elegant, carefully thought-out authentic Victorian-era sets.
Word has it that this Importance Of Being Earnest enjoys heavy pre-booking. I can only recommend that you move fast to see what is a beautifully staged, lovingly re-enacted and thoroughly delightful piece of theatrical history.
- Colin Mockett
Katie's a shoe-in for Julie in a sumptuous Cinderella
Cinderella directed by Simon Thorne for CenterStage Geelong, GPAC’s Playhouse, March 22, 2019.
I have seen and reviewed more than a dozen Geelong productions of Cinderella over the years, mostly staged by Medimime or GSODA Juniors. Though they each differed in approach and application, none would compare with this CenterStage version. This show would have to be the biggest, best dressed and glitziest to have been staged at GPAC for years, if not decades.
It had 46 on-stage performers, a 33-member orchestra and a 20-strong support and backstage team. Their presentation could be modestly described as lavish, with every cast member elaborately costumed, bewigged, and wired for sound. The show’s lighting effects were dazzling and its properties included a full-size statue and drive-on electric-powered Royal carriage with life-sized faux horses. It also had a large unwieldy set that needed to be occasionally manhandled by a small team of skilled scene-shifters. I would estimate that some of the previous Cinderellas I’d seen had a total cost well below this show’s budget for its wigs. Which were, incidentally, spectacular. It’s fair to say that this was not a Cinderella operation at all. It was big-budget, big-scale, opulent and ornate.
And yet there were similarities to the previous productions. The first was storyline, which stuck faithfully to the centuries-old ‘girl makes good through fairy intervention, marries prince and lives happily ever after’ framework, despite today’s more enlightened gender expectations. Director Simon Thorne’s traditional approach held few surprises or novel touches, preferring to accent the show’s pageantry and glamour. MD Brad Treloar’s string-heavy orchestra - situated, unusually, at the back of the stage - was as lush, grand and gorgeous as the show’s presentation.
The base of this Cinderella was a 1957 US TV production, written by Rodgers and Hammerstein as a vehicle for the then-young star Julie Andrews. As such, all the show’s songs, although previously unheard, seemed to have a familiar sound, as if they were cloned from Oklahoma! or South Pacific. As for the on-stage talent, Katie Loxston was an excellent substitute for Julie Andrews with her clarity of diction and beautiful singing voice. Joni Gardner made the most of the limited opportunities as her Prince, while the rest of the name characters were, at best, sketched in. This was, after all, a vehicle for Julie Andrews, so King Brendan Rossbotham, Queen Amy Curtis and Godmother Louise Walter, though each sang beautifully, were essentially written as support roles in front of the chorus. So too was Stepmother Michele Marcu along with grimacing Stepsisters Jamie Long and Caitlyn Lear. Dom Wolfram and Damian Caruso were effective courtiers along with Jack McPhail, while the show’s large ensemble sang, danced and somersaulted to add colour, movement and lush spectacle whenever the action looked like flagging. Take a bow, Madelyn Ludbrook, Ruby Buchanan, Rebecca Harland, Cate Dunstan, Ben Hargreaves, Luke Carra, Annah Kucharski, Elliot Senftleben, Amy Pullen, Chloe Stojanovic, Leanne Treloar, Joel Lane, Amanda Biffin, Will Johnston, Rebecca Wik, Sarah Jeffreys, Sue Rawkins, Trent Inturrisi, Chloe Lewis, Jemma Lowther, Maddy Horne, Tyler Stevens and Oliver Russell with youngsters Molly Martin, Mia Hayden Brooks, Elyssa Jeffreys, Einbhlinn Sharkey, Milla Best, Katie McKeague, Annie Grave, Rosie Tuck, Charlotte Piec, Lochie Slater, Guy Wingrave and Hamish Veronie.
To sum this all up, this was the Cinderella story, simply told with an excellent star - and sumptuous, eye-catching staging.
- Colin Mockett
G & S Pleasures Come In Endless Ceres
For The Love Of Gilbert & Sullivan presented by Theatre Of The Winged Unicorn, Scarecrow Patch, Ceres, March 17, 2019.
Take a pair of sparkling eyes, and a voice to make you swoon; the ingredients comprise, of a splendid afternoon…
This delightful celebration of the works of the G & S was packed with sweet surprises. Firstly, there was the song selection, which went beyond the obvious to include some lesser-known but highly worthwhile numbers. We may not have met a modern Major-General, or heard a little list; but instead we were seduced by a couple of witty and wacky love duets in There Was A Time (from The Gondoliers) and Never Mind The Why And Wherefore (from HMS Pinafore) among the 22 slickly delivered non-stop songs. We were enthralled by seven pirates advancing With Cat-Like Tread, enchanted by Three Little Maids From School, and agog at what Allister Cox got up to When He Was Alone And Unobserved.
Allister served as the concert’s MC, giving occasional insights into the popularity and impact of WS Gilbert and Sir Arthur Sullivan who were as dynamic a duo as Lennon and McCartney in their own time. Only funnier and more subtly socially cutting.
Among this concert’s other surprises were the number and quality of performers - there were, at times, all seven singers with Sonoka playing the Baby Grand piano on the tiny Scarecrow Patch stage. Dancing! Such was the tightness of space and schedule that we audience were frequently treated to the spectacle of our performers wriggling to change their costumes, seated in venue’s one-metre-wide wings.
Those performers included the dashing Tim Hetherington, impressive Nadine Joy, splendid Miriam Wood, sterling David Marrie and admirable Ben Mitchell (this performance deserved, nay demanded, the dignified, courteous language of the times.) And those were alongside the versatile aforementioned Allister Cox and the truly memorable Jocelyn Mackay. The concert’s musical director and eighth performer, Lisa Breen, had been unable to appear due to illness, so Jocelyn had clearly taken on Lisa’s parts as well as her own. She appeared in 13 of the show’s 22 segments, faultlessly delivering each number with the correct nuances of grace, aplomb or jocularity.
And that overall level of impeccable performance was set and maintained by the immaculate piano accompaniment from the beautiful and elegant Sonoka Miyake.
All up, this concert went well beyond the realms of a pleasant Sunday soiree. To borrow from another generation, it was an afternoon delight.
* Since this review was published, TOWU co-founder, and concert director asked for the following credits to be included. The concert's technical /lighting/piano was by Ben Mitchell; poster/digital Design by Claire Chilcott; front of house hosts were Kath O'Neil and Alard Pett, and the director/producer Elaine Mitchell also created and/or supplied the costumes.
- Colin Mockett
Two Romantics presented by Geelong Symphony Orchestra, conductor Richard Davis, soloist Rio Xiang. Costa Hall, March 2, 2019.
Call it serendipity, happenstance, providence… Either way, it occurred to this critic at this concert.
It really began on Wednesday, when I had surgery to remove a cataract and place a new lens in my left eye. By Saturday, I was seeing things with astonishing clarity and distinction. Not that that should have made any difference at the Geelong Symphony concert. This was, after all, showcasing the music of two great romantic composers, Brahms and Tchaikovsky. So it was to be a treat for the ears, not the eyes. But then we were handed tickets to the third row, front and centre which allowed a remarkably close-up view of the pre-concert string section. With my new enhanced vision, I saw things unnoticed before. Like concertmaster Olivier Bonnici’s cheeky mustard-coloured socks, Emily Frazer’s look of concentration as she led the warm-up, lead cellist Timmothy Oborne’s laid-back stance contrasting Jamie Parker’s total concentration; violinist Eve Gu’s beautiful black-lace shoes…
Then guest conductor Richard Davis took the stage in full tail suit, white tie conflicting just a little with the GSO’s more relaxed outfits of men in dark lounge suits, women in black ensembles.
Then the opening piece began. It was Brahms Academic Festival Overture Op. 80, and nicely suitable for Deakin University’s showplace hall with its themes of student drinking songs. It was presented in what is now the accepted GSO manner - neat, faultless delivery in cool professional style.
Still I had no real inkling of what was to come as the Costa’s Steinway grand piano was moved centre-stage for the evening’s second piece of romance, Tchaikovsky’s Piano Concerto No 1 Op.23. This was to be played by Rio Xiang, the young man who had won last year’s Youth Classical Music competition in Geelong, with appearing at this concert part of his prize.
Rio is a tall, slender 20-year-old who appeared reserved, perhaps a little awkward as he took his welcome applause and sat at the piano.
Conductor Richard Davis is, by contrast, an old hand. He’s chief conductor and head of orchestral studies at Melbourne Conservatorium and he regularly conducts orchestras worldwide including the BBC Philharmonic. He holds a top reputation for bringing the best out of orchestras and soloists, using a unique style of expressions, flourishes, smiles, frowns and gestures. As this is directed at the players, it’s usually unseen by the audience who would simply see the back of that elegant tail suit. Unless you happened to be in seat C30 in the Costa Hall, 2 metres away, in direct line of sight between conductor and soloist - and with newly enhanced vision.
I can tell you this piece was enthralling. Illuminating. It was thrilling, compelling stuff, watching Rio’s pale long fingers dancing his keyboard for the 20-minute piece without sheet music while being wordlessly led, stimulated, encouraged by his conductor who twisted and turned to make eye contact while still in full control of the orchestra. I should also add that the music was wonderful, faultless - and that it drew long, loud applause and no fewer than four call-backs before the concert’s interval.
The concert’s second half consisted entirely of Brahms’ Symphony No 1 in C minor Op. 68 in its four movements. There was no piano, no Rio, just gorgeous, flowing, soaring lush romantic music played with the GSO’s gloss, style and verve.
But, for me, it was just a bit anticlimactic following that (literally) brilliant Tchaikovsky piece. I felt privileged to have been in that place at that time.
So this concert redefined memorable for this critic, who now looks forward to hearing - and seeing - the GSO’s next concert, when the gorgeous Rebecca Chan plays all four of Vivaldi’s seasons. I just hope this vision enhancement doesn’t fade.
- Colin Mockett
Beautiful music, perfect setting
Summer Sounds featuring Vox Angelica with elements from Geelong Symphony Orchestra, Geelong Gallery February 24, 2019
It takes something special for a concert to sell out a week ahead, especially one featuring classical music played and sung by lesser-known newish performers at an unusual time in an unfamiliar venue. But that was the case with this concert, which paired the four-year-old Vox Angelica acappella choir with a sextet of young string players from Geelong Symphony Orchestra (which celebrates its third anniversary this month) in a 5.00pm concert at the Geelong Art Gallery.
Though the two groups performed separately, their music perfectly complemented each other.
And that capacity crowd, which I gauged to be an even mix of Gallery regulars and well-informed music patrons, turned out to be excellent judges, for the concert proved to be musically elegant with plenty of delightful surprises.
The first was the quality of the venue. Quite apart from its ambience - we were surrounded by our city’s choice artworks - the room’s dimensions, height and hard surfaces meant that it was acoustically brilliant, with every note clearly, distinctly audible. There was not a microphone or speaker used, or needed.
Then there was the high quality of the material presented. The programme was loosely selected on the theme of ‘Summer’, but strayed into the realms of ABCFM’s ‘beautiful music’.
We began brightly with the GSO sextet - four violins, viola and cello, presenting Bach’s Concerto in D Minor for Two Violins with Jamie Parker and Emily Frazer the two violin soloists. Their faultless accomplished handling of the Baroque favourite, with its three subtle movements, drew enough warm strong applause to settle any nervousness for those performers to come, while setting a standard of excellence that was to be matched and occasionally surpassed.
For Vox Angelica followed. 22 accomplished adult voices that were not auditioned - they were selected by director Tom Healey. Master musician Tom introduced each song succinctly and authoritatively without reference to notes, then his choir delivered in rare style. Their segment began with the 12th Century Sumer is acomin’ in, which, in common with Geelong’s summers, was delivered in 12 parts. This was, Tom explained, because they can. This was followed by a simply exquisite treatment of Charles Villiers Standford’s The Bluebird, then another piece of delicate harmonies, this time the garden song Im Wald by Fanny Hensel, the sister (and acknowledged superior) of Felix Mendelssohn. Then followed four modern songs, each with its own challenges and delights. Eric Whitacre’s tricky The Marriage was neatly balanced by Clare Maclean’s We Welcome Summer, while Ian Grandage’s Sunset was followed (naturally) by Morten Lauridsen’s Sure On This Shining Night. All were delivered with accomplished skill, all were warmly received and all loudly applauded. The room’s acoustics resonated to that, too. Then the six young GSO musicians returned, to be joined by Tom Healey on Continuo, and together they finished the afternoon with a flawless, intense rendition of Summer, from Vivaldi’s Four Seasons, with soloist Jamie Parker excelling, along with cellist Timmothy Oborne, and the septet drawing a storm of long, loud applause.
Jamie is deputy concertmaster to Geelong’s GSO, which has a Two Romantics concert in the Costa Hall this coming weekend.
That concert’s concertmaster, Olivier Bonnici, was at the gallery to witness to his deputy’s skill. He had to be. He was singing tenor with Vox Angelica.
Such were the surprises in what was essentially a delightful afternoon of beautiful music in a perfect setting.
Here’s to the next time.
— Colin Mockett
Les Miserables directed by Alister Smith for Footlight Productions. Playhouse Theatre January 19, 2019
There’s a six-part BBC adaptation of Victor Hugo’s novel Les Miserables currently airing on British TV that’s attracted a flood of viewer complaints because it has no music. ‘Why Can’t We Hear The People Sing?’ say the British headlines, and it was even brought up in parliament. The furore highlighted the fact that the world’s most popular musical has entrenched its anthems into people’s minds, more so than the novel’s storyline.
But those whinging viewers would have no problem at all with the new Footlight version of Les Mis that’s currently gracing GPAC’s stage, because this was a show built around its musical excellence.
It was driven by John Shawcross’s top-quality 16-piece orchestra which interpreted the show’s tricky cadences and repeated themes without missing a beat or hitting a wrong note.
And that high musical standard was mirrored by everyone on-stage, from the emotional leads - Brad Beales’ sensitive Jean Valjean, Vaughn Rae’s stoic Javert, Nicole Kaminski’s tragic Fantine - through to every support and member of the ensemble. The entire cast must have been selected for their vocal abilities because they all wore head-mics, and every one of the many big production scenes was memorable because of the power, or delicacy, of their combined voices. Much credit is due to the show’s vocal director, Anna-Lee Robertson, for moulding such a potent chorus. Kudos, too, to director Alister Smith’s pair of movement/choreographers, Brenton Cosier and Elinor Smith Adams, along with lighting designer Daniel Jow for the neat trick of starting each production number with what was essentially a tableaux. This appeared almost as a reproduction of a Vermeer-style street scene, but one which almost instantly morphed into musical life. It must have taken months of planning and rehearsal to achieve such simple elegance. And it was certainly helped by the show’s sombre iron-black set, with two steep black wheeled staircases manoeuvred by cast members to create smooth scene-changes. But , for this reviewer, the show’s stand-out elements came from the assembled male chorus under the leadership of rebel students Tom Phyland, Charlie McIntyre, Jonathon Gardner, Thomas Membrey, Elija Ivelja, Ash Chapel and others. This assembled group, which included at times Nick Addison, Josh McInnes, Aidan O’Cleirigh, Richard Senftleben, David Van Etten and Jordan Ybarzabal, provided the strong, vibrant male vocal base for the show-stopping signature ‘Hear The People Sing’ battle anthems. This team's sure voices and secure harmonies gave the whole production its power. This neatly contrasted the pathos wrung by Nicole’s Fantine, and especially, Morgan Heynes’ doomed Eponine. Her rendition of On My Own brought loud sobs from a woman sitting behind me, and the soft sounds of tissues extracted from boxes continued through the next few scenes.
But for all its musical, visual and emotional excellence, not all the innovations in this production worked. For this reviewer, the rogue Thenardier innkeeping couple of Greg Shawcross and Hayley Wood, though faultless in their performances, came across as grotesque pantomime caricatures, rather than devious villains. And some lighting effects, which were, at times excellent in highlighting emotions and disguising scene-changes, occasionally dazzled when strong spotlights were directed straight into the audience.
But that’s carping criticism of what was essentially a production of uniform, overall excellence. Most especially musically.
It’s a show with surprising topical relevance, too, given the ongoing yellow vest protests in Paris, not to mention the British House of Commons calling for its songs to be broadcast.
So don’t miss this Les Mis. It’s good enough to drive a Pommie tourism push.
— Colin Mockett
A Standing ovation for a truly magnificent event
Geelong Summer Music Camp Showcase Concert at the Costa Hall, Friday January 18, 2019
This was the 39th annual Summer Music Camp Concert, and the 19th held in the Costa Hall. Those figures cover a trio of significant factors. First, the camp, and its subsequent concert, are now second-generational, being organised by musicians who were past participants, and therefore have first-hand experience of what is at base an intense five-day series of musical masterclasses. Secondly, that system encourages friendship and camaraderie, so a majority of the musicians and tutors taking part were regulars returning for what has become a familiar annual experience. And thirdly, the tradition of working towards a final concert in the Costa Hall - Geelong’s premier musical venue - is now so entrenched that it holds no fears to either organisers or participants. So presenting a slick and spectacular show using some 300 musicians with musical genres ranging from Welsh hymn to light classics, via big band and film musicals, and finishing with a spectacular all-on-stage finale would have been considered hard work, but not particularly stressful for them. Because they have literally been doing it for years. But for us in the audience, it was astonishing in its scale, width of material and skilled musical standards. If this concert had been presented by a touring group of professionals, it would have been hailed as outstanding and memorable. Because it was a display of slick, polished musical assurance from eight distinct groups with every musician under the age of 21. Each component part, linked by a loose common ‘Carnival’ theme, built to a big 'Greatest Showman' finale. It then drew three encores and a standing ovation.
But the most amazing, gob-smacking thing about this concert was that it was put together in just five days.
Read that again. Then realise that when those 240 young people aged between nine and 21 came together in Geelong on Monday morning, none of them had seen any of the scores. They didn't even know what type of music they would be learning to play on the Costa’s prestigious stage IN FIVE DAYS.
So above all, I guess, this super show was testament to the astonishing ability of the young brain to absorb information, and overcome pressure - given the right input and leadership.
I know that it’s normal for reviewers to list then critique each part of a concert, but I’m not inclined to do that here. Instead, I’ll say that this was among the best GSMC Showcase I’ve attended in its structure, overall competence and smooth operation. And that was probably due to it having a stable control team that has learned from, and built upon all those previous experiences. So instead of appraising, I’d like to list, and acknowledge the people who planned, then executed such a wonderful event. They provided the musical expertise so eagerly absorbed by their young charges. At the top is musical director, Fiona Gardner, and her committee of Shannon Ebeling (president) Leanne McCartney (vice president), Michael and Glenda Wilding, Ben Anderson, Helen Bourke, Kevin Cameron, Trish Kinrade, David Gardner, Rose Humphrey, Lesley Walters and Cathy Blake. Then there’s their conductors; Robert Moffatt, Amberley Bremner, Sean Rankin, Ryan Bentley, James deRozario and Edward Fairlie. Their super talented arranger/accompanist Kym Dillon and their musical tutors Cathy Blake, Ben Castle, Jamie Parker, Jess Higgins Anderson, Timmothy Oborne, Michelle John, Luke Richardson Jonathan Woods and Martin DeMarte (strings); Brighid Mantelli, Kathryn Saunders, David Gardner, Kate Martin, Ben Anderson, Natalia Edwards, Adrian Meyer, Robert Moffatt (wind); Jacqui Anderson, Sharon Huber, Sean Laughran, Bryan Anderson (percussion) and Tania Grant, Jodie Townsend and Casey Reid (choir). The concert was linked with energetic charm by Brian Alexander, who was another long-term participant, having children involved in the camps for most of the Costa years.
Together, this small team, their families and friends brought together a Geelong musical event like no other, one that truly deserved the title ‘magnificent’. — Colin Mockett
Unexpectedly satisfying concert in a new venue
Bach To The Bush a concert from Anthony Albrecht at the Geelong Boat House, Sunday January 13, 2019
This unheralded, largely unpublicised concert from travelling British cellist Anthony Albrecht was an unexpected musical pleasure.
Anthony has been exploring the backroads of Australasia intermittently for the past four years presenting this concert in scratch venues. These had, we heard, mostly been researched and discovered on the internet by the artist himself.
The Geelong concert was, he thinks, his 70th. Or perhaps his 72nd. Either way, it was an exceptionally polished performance that was very well received by an appreciative audience that had, itself, been notified by social media and on-line sources including this website. It’s something of an achievement today for a classical musician to stage a solo tour without backing or financing from any government or private source. To do so to the extent that Anthony has achieved is remarkable, and I would venture, unique. It not only sets out an innovative new path for other young musicians to follow - it may well have also gifted Geelong a new performance venue. Because this concert was apparently organised by Anthony last week while he was in the Hunter Valley, NSW. Knowing he was booked next week in Tasmania, he looked for an unusual venue in Geelong to break his journey. Finding the Boat House on Google Maps, he noted its seafront location, contacted the venue’s owner, who swiftly agreed - and this concert was set up with six days’ notice.
‘I probably should have changed the title from Bach to the Bush to Bach to the Bay,’ Anthony said in his introduction, looking out at the background seascape. ‘But I really didn’t think of it in time’.
The Geelong Boat House is the fish & chip restaurant that projects into the sea at Western Beach. It has a licensed function room behind its shopfront, where two French doors open to seaborne decking. It would seat, at a guess, 80 people. Toward the end of Anthony’s performance, venue owner Malcolm pronounced the occasion a surprise success, and said he would welcome similar performances in the future.
Given this short-notice background, the concert was understandably low-key and simple. There was no programme, so this review is compiled from memory and sketched notes. There was no lighting on the performer, and no amplification, either. They weren’t needed. Such was the selection of material and quality of musicianship that the audience was enthralled by the music and charmed by the artist’s frank and detailed introductions.
Anthony Albrecht is no hopeful newcomer. He’s an established, accomplished and sought-after cellist of international renown. Newcastle-born and London based, he trained at the Juilliard School in New York. That experience was evident from the outset, because his first piece was tricky - and Australian. It was Reclaiming The Spirit, written by Sarah Hopkins in 1993 on the handing back of Uluru to its traditional owners. In this, Anthony’s cello accurately replicated the sounds of the didgeridoo.
This was followed by the first of two of Bach’s Cello Suites, starting appropriately with Suite No.1 in G major. This well-known piece was delivered on Anthony’s 300-year-old cello in the original Baroque style. This meant it had no floor-spike, but was gripped between the knees. The sound was clear, clean and precise in spinning out Johan Sebastian’s intricate, elaborate musical patterning. This was due, Anthony explained, to the use of authentic gut-wound strings and an old-style bow that was weighted differently to modern versions. He also explained that the glory of Bach’s music was his extensive use of the mathematical ‘golden ratio’ found throughout nature.
Following a short interval, and a second Bach Suite, this time in D minor, ‘The key of loss… The most poignant key of all…’, Anthony revealed that his cello had a Geelong connection.
It had been bought from the estate of Francesca Rousseaux, the much-loved Geelong musical identity who died in 2013. I’m certain that Francesca would have approved. Doubly so when Anthony said he now called the cello ‘Francesca’.
‘I’m a custodian, just as Francesca was. I hope to hand it on in as good condition as she did..’
In all, this Bach To The Bush was fascinating, enlightening and musically enthralling. It was also satisfying, on so many levels.
Watch out for an unheralded appearance near you - and keep an eye on this site for the next time that Anthony Albrecht returns to the Geelong Boat House venue.
— Colin Mockett