FRIENDS – The Musical Parody

As huge fans of Friends, we have been waiting to see this show for quite a while. Much like a lot of Melbourne productions, this show fell victim to the pandemic and various lockdown restrictions over the last two years. It was great to be able to spend a night out and enjoy some harmless fun.

This show will not likely be of any interest to non-fans. The jokes and parodies are well done, but rely heavily on the show’s immense fandom it has built over its ten-year run and subsequent following since it first hit screens in 1994.

Having said that, for fans of the show (of whom there are many) there is a lot of joy to be had from this 90-minute fast-forward through ten seasons of nostalgia. The major challenge with any parody, especially one with such recognisable characters as Friends, is the need to ‘suspend your disbelief’ and recognise the show for what it is.

Some character interpretations are better than others. Standouts include Tyran Stig as Ross and Eleanor Macintyre as Rachel who encapsulate their characters’ iconic vocal quirks and mannerisms with aplomb. A great addition to the show is the various cameo appearances made by Dom Hennequin, who does an excellent job of maintaining the show’s pace and addressing the audience throughout. Maverick Newman, who plays Chandler, ironically also pulls out a great physical performance in his on-again-off-again love interest Janice.

Throughout the show, there are some great parodies of well-known musical songs, including a Central Perk Tango, as well as a great homage to Rentand Seasons of Love in the show’s final minutes.

Hats off (slight pun intended) must go to the costume department. While the production team are limited by copyright restrictions, the costume department are not. Seeing instantly recognisable costumes on each of the Friends’ throughout are instantly recognisable, iconic and a great piece of fan service.

It is clear that every member of the cast are incredibly talented singers, actors and dancers and it is evident that a lot of work has gone into character development before portraying imitations of these well-known screen icons.

For fans of Friends, this show is a fantastic night out, and a great chance to catch up with friends of your own as a pre-Christmas catch-up while enjoying the sights of Melbourne. Be sure to book your tickets before it closes on 17th December.

Charles Dickens’ classic comes to life at Melbourne’s Comedy Theatre, just in time for the holiday season. Starring the talented David Wenham as the infamous Ebenezer Scrooge, Jack Thorne’s adaptation of the all too familiar story has been transformed by director Matthew Warchus; elevating the classic story to all new heights. 

On Christmas Eve, debt collector Ebenezer Scrooge is visited by the ghost of his former business partner, Marley, who is weighed down by chains due to his selfish, greedy ways. Informing Scrooge that he will be visited by three spirits after midnight, Marley tells Scrooge that he must change, or he will face a worse fate. Taking a trip to the past, present and future, Scrooge soon learns that his resistance to change could soon be his downfall. 

David Wenham commands the stage as Scrooge; convincing in his initial self-loathing and apathetic portrayal of the character. Wenham plays Scrooge as a complex man, whose battle with the ghosts of his past are painfully relatable. Thanks to Thorne’s writing, Scrooge’s past becomes a lot more relatable - a disapproving father and a lost love shaping the man he is today. It isn’t until Scrooge learns the true meaning of togetherness, that Wenham leans into the childlike wonder of Christmas, with plenty of comedic relief that follows. The supporting cast are nothing short of amazing, with our favourites being Bernard Curry as Scrooge’s employee Bob Cratchit; a doting father and husband who can’t catch a break with his work-life balance, and Debra Lawrance, Samantha Morley and Emily Nkomo as the ghosts of Christmas Past, Present and Future. 

One of the production’s many highlights are its beautiful set design. A dazzling sea of lanterns surround the top and sides of the stage; creating an endless display of light. The stage’s moving doorframes and flickering candlelight definitely added to the magic of the play, and the overall whimsy of the story. Supported by beautiful carols sung by the talented swing performers, who also acted as the play’s narrator, the production’s surrounds were just as much a character as the leads. 

Adding another layer of magic to the production was beautiful handbell ringing and caroling, which truly made it feel like Christmas was just around the corner. Dickens’ timeless ghost story of redemption has inspired so many adaptions on and off the stage, so seeing the classic tale brought back to basics allowed the true message of connectedness to shine through. A Christmas Carol is playing at the Comedy Theatre until 30 December 2022, and is proudly supporting Foodbank during its run. Buy your tickets online here, and to make sure you’re not a Scrooge, be a Foodbank angel. 

Photo Credit: Jeff Busby

Cameron Mackintosh's new production of Andrew Lloyd Webber's The Phantom of the Opera has been heralded as the re-invention of The Phantom for a whole new generation; bringing together a perfect mix of the classic production we know and love, with a new and exciting staging and scenic design. The 37-person cast and 27-piece orchestra make this one of the largest musical productions ever seen in Australia. After a record-breaking season at the Sydney Opera House, Phantom has now arrived at Melbourne's State Theatre.

Based on the novel Le Fantôme de l'Opéra by Gaston Leroux, the phenomenon of Phantom cannot be understated, with over 30 years on a global stage. Whether you are familiar with the story, the music by Andrew Lloyd Webber and lyrics by Charles Hart, or if it is your first time experiencing the magic onstage, the re-imagination brings new light to the dark story of a disfigured musical genius' obsession with a talented and beautiful young soprano.

The talented Australian cast is led by Josh Piterman in the lead role as the Phantom, and Amy Manford as Christine Daaé - both experienced in the lead roles from their time on West End - as well as Blake Bowden as Raoul Vicomte de Chagny. The trio's chemistry is unparalleled and exceptional, and is supported by an entertaining cast. This includes the hilarious co-managers of the Opera House Monsieur André (Andy Morton) and Monsieur Firmin (David Whitney), leading soprano Carlotta Giudicelli (Giuseppina Grech) and tenor Ubaldo Piangi (Paul Tabone), loyal servant to the Phantom, Madame Giry (Jayde Westaby) and her daughter Meg Giry (Mietta White).

Easily one of the biggest reasons that Phantom has had such popularity over the past three decades is the number of incredible ballads performed throughout. In the first act you have Think of Me, Angel of Music, The Phantom of the Opera, The Music of the Night and All I Ask of You, while in the second act there is Masquerade, Wishing You Were Somehow Here Again and The Point of No Return. While the music is what draws you in, the new set design and special effects were fantastic - including the updated take on the show's chandelier. We were quite happy to see the original costume designs from Maria Björnson retained in the new production, bringing the old and new together in perfect harmony. 

The Phantom of the Opera continues to be a classic from start to end, and is a story that will be told for many years to come. We are excited to welcome the production to Melbourne for what is sure to be a very successful season ahead.

The Phantom of the Opera will play at State Theatre, Arts Centre Melbourne until 5 February. 

Tickets available at Phantomoftheopera.com.au

Facebook: https://www.facebook.com/ThePhantomOfTheOpera

Twitter: https://twitter.com/PhantomOpera

Instagram: https://www.instagram.com/phantomopera/

Photo Credit: Sam Dagostino - SDP Media

1999 was the year the Sarah-Michelle Gellar cult-hit Cruel Intentions was released in cinemas. A time when most of the cast - and a fair proportion of the audience - were far too young to watch such a racy and sexually charged movie. It is perhaps testament to its message and its impact that over 20 years later, a theatre can be filled with performers and public who are eager to have some raucous fun, soundtracked by some jukebox favourites from a bygone era. 

This is a fun show, with some uncomfortable moments. The central plot involves a bet between a stepbrother and sister that involves seducing the headmaster’s daughter (it is worth remembering that this all supposedly takes part high school – not college). This discomfort is deliberate and details the importance of issues surrounding consent, promiscuity, sexual liberation and the double standards between men and women. 

The joy of this production comes from the recognisable hits from the 90s, performed by an incredibly talented cast who all left everything out there on the stage. The cast is led by Kirby Burgess as Kathryn and Drew Weston as her stepbrother Sebastian who are both incredible talents and bravely give their all to their respective roles. 

Francine Cain steals the show at one point as the naïve and innocent Cecile who also puts in a very brave performance. Kelsey Halge shines in her professional theatrical debut as Annette Hargrove, the virtuous subject of Sebastian’s desires. 

The show follows the movie very closely, and the addition of recognisable songs from Christina Aguilera, Britney Spears and NSYNC only adds to the joy and comedy of such a raucous production.  Given the close ties to the movie, it is quite revelatory to see how far society has progressed since 1999, but also perhaps how in many ways it has not. 

See this show at the Athenaeum in Melbourne before it leaves for Sydney at the end of June.

Entering a dazzling Regent Theatre in Melbourne, eyes light up with wonder and excitement.

Cinderella is one of the most recognisable and nostalgic Fairy Tales and has been adapted and re-told countless times across various mediums. It begs the question (especially with Andrew Lloyd Webber’s new adaptation of the same name currently open in London) whether this production is indeed relevant to current audiences. The answer is a resounding yes.

Rodgers and Hammerstein’s Cinderella is a unique offering. It was first written for television in 1957, with early pantomime and stage productions following suit. The book was then re-written and adapted for modern audiences on Broadway in 2013. It offers a modern twist on a traditional story yet retains its endearing charm with timeless music and lyrics reminiscent of days gone by. With so many new shows and exciting developments to theatrical productions in recent years, it is humbling to sit back and take in the familiar sounds of Richard Rogers’ score and Oscar Hammerstein’s lyrics.

The casting in this production is perfect. The diverse selection of Shubshri Kandia  in the principle role is refreshing and her beautiful performance carries the production seamlessly throughout. Ainsley Melham also portrays a Prince with a different kind of charm – one that is relatable and humble. Both leads exude chemistry and their voices blend together delightfully.

Silvie Paladino is exquisite. A seasoned professional who flies above all expectations (literally), she truly encapsulates the magic and wonder that sends the audience on its journey. Todd McKenney also reminds us of his talent throughout this performance. In a rare acting only role, McKenney is at first unrecognisable – no mean feat for someone with regular exposure to the Australian public. In the role of Madame (the evil stepmother) Tina Bursill also effectively portrays a hardened matriarchal figure with a commanding presence.

One of the biggest stars of this production is the costume design. With magical transformations and flying fairy godmothers beforehand, it is the “Waltz for a Ball” at the end of Act I which is an absolute highlight. It is a perfect display of the beauty, charm and magic that has captured hearts and imaginations for centuries. 

This is the perfect show for grandchildren, grandparents and everyone in between. A true call-back to traditional theatre with some healthy modern amendments. 

Opening at the Old Vic in London in 2017, Girl From The North Country has brought to life the music and lyrics of Bob Dylan; transporting audiences to a struggling guest house in Duluth, Minnesota in the 1930's during the height of the Great Depression. Tasked with encapsulating the life's work of one of the greatest songwriters of a generation into a story of its own, writer and director Conor McPherson worked through Dylan's full catalogue to intertwine songs about love, God and life. What follows is a story of travellers who find themselves thrust together, while trying to get by life's twists and turns in the midwest. 

The rundown guest house is managed by Nick Laine (Peter Kowitz), who is single handedly trying to help save his family as the banks begin to threaten foreclosure. His wife Elizabeth (Lisa McCune) has dementia, experiencing life in a child-like state, while their son Gene (James Smith) is a struggling writer with an alcohol problem. Their adopted daughter Marianne (Chemon Theys) is pushed towards settling down to marry the significantly older and financially stable businessman Mr Perry (Laurence Coy).

Drifters visiting the guesthouse include the family's physician (and narrator of the story) Dr Walker (Terence Crawford), the widowed Mrs Neilson (Christina O'Neill) who is caught up in a love affair with Nick, bible salesman Reverend Marlowe (Grant Piro), the Burke family (Greg Stone, Helen Dallimore, Blake Erickson) and boxer Joe Scott (Elijah Williams). With such a dynamic range of characters and talents onstage, our favourite moments in the performance included the captivating stories from Peter Kowitz, the humour and well-timed outbursts of Lisa McCune, and the voices of Chemon Theys and Elijah Williams. 

The music in the production comes directly from Dylan's albums, and expands across the entirety of his catalogue. From Sign on the Window, Slow Train, Like a Rolling Stone, Make You Feel My Love, and Jokerman in the first half through, to Girl From The North Country, Hurricane, Idiot Wind, Is Your Love in Vain?, Forever Young, and Pressing On in the second half, the works span from 1970 through to 2012. Supported by Musical Director Andrew Ross, the band who performed onstage throughout the production did a fantastic job of bringing us into Dylan's world. 

From the man himself, Bob Dylan sent a note to be read aloud to the cast and audience when the show reopened on Broadway, reading 'My songs couldn't be in better hands'. Whether you are a big fan of Bob Dylan, or love attending the theatre, this show remains to be timeless. 

Upcoming Dates

Melbourne: 12th May 2022 - 4th June 2022

Auckland: From 30 June

Wellington: From 21 July

Canberra: From 25 August

Brisbane: From 8 September

Tickets

If you'd like to head into the world of the North Country, head over to the link here to purchase your tickets. 

Photo Credit: Daniel Boud

Four-time Tony Award-winning Broadway musical, An American In Paris, has finally reached our shores, and commenced on its national tour around Australia. Born from an exciting collaboration between The Australian Ballet and GWB Entertainment, the musical inspired by the Academy Award-winning MGM film brings razzle-dazzle, jazz, dance and romance to the stage, all set in the city of love. The story tells of a young American soldier who decides to try his luck in a new city, all while making some friends and falling head over heels for a beautiful French girl.  

With music and lyrics from George and Ira Gershwin, and a book by Craig Lucas, director and choreographer Christopher Wheeldon brings the story to life. Supported by popular songs including, Our Love Is Here To Stay, I Got Rhythm, S’ Wonderful, and But Not For Me, the Australian cast is supported by Orchestra Victoria, alongside conductor Vanessa Scammell, who does a wonderful job of whisking the audience away to the streets of Paris for the night.  

The musical leads of the performance are Broadway and West End stars Robbie Fairchild (Jerry Mulligan) and Leanne Cope (Lise Dassin), who have both played these roles in previous international productions with great success. Supported by leading lights and alternate leads Cameron Holmes and Dimity Azoury from the Australian Ballet, the Australian cast are nothing short of astounding. Special mentions in the performance include Anne Wood (Madame Baurel), David Whitney (Monsieur Baurel), Ashleigh Rubenach (Milo Davenport), Jonathan Hickey (Adam Hochberg) and Sam Ward (Henri Baurel).  

Witness the incredible choreography and timeless love story of An American In Paris at the State Theatre in Melbourne from 18 March to 23 April, before heading to Sydney, Perth and Adelaide. If you’d like to hear what all the fuss is about, head over to the link here to purchase your tickets.  

Photo Credit: Darren Thomas 

Following on from sold-out shows on Broadway, The Wedding Singer The Musical brings its show stopping tunes and wild choreography to Melbourne's Athanaeum Theatre for some strong 80's nostalgia. 

Based on the 1998 classic starring Adam Sandler and Drew Barrymore, the musical brings an added spark to the romantic journeys of  wedding singer Robbie Hart (Christian Charisiou) and waitress Julia Sullivan (Teagan Wouters). The general plot, for those who have not caught the film, centres around Robbie; a wanna-be rocker turned wedding singer, who lives for love. Having had his heart broken after being left at the alter, fate intervenes and he is introduced to waitress Julia, who is on her own journey to discover if the man she is set to marry (Glen Guglia, played by Stephen Mahy) is her true love. 

Charisiou and Wouters’ chemistry is undeniable and had the audience rooting for them throughout the musical. Mahy plays the villain well, particular when he seeks to turn Robbie into another ‘stock market bro’ in All About The Green.  One of the highlights about The Wedding Singer was the side characters, each bringing their own sense of humour and wit. Julia's best friend Holly (Nadia Komazec) steals the scene throughout the show with her cheeky one-liners, playful banter and Flashdance-inspired number. Band mates George and Sammy (Ed Deganos and Haydan Hawkins) are hilarious in their quests to steer Robbie in the right direction, even if it's for reasons of fame and success. The most powerful scenes came from Linda (Kirby Burgess) who makes a powerful entrance anytime she graces the stage with her outrageous power ballads. Grandma Rosie (Susan-Ann Walker) and George’s dancing to Move That Thing had the audience in stitches - their energy bouncing off each other seamlessly. 

Pinnacle moments in the musical included the film’s iconic songs Somebody Kill Me and Grow Old With You, as well as hilarious tracks like Come Out of The Dumpster, and high-energy ballads including Casualty of Love and Saturday Night in the City. With music by Matthew Sklar and lyrics by Chad Beguelin, the musical is never short of a catchy song - especially one that is dripping with 80’s nostalgia. Speaking of nostalgia, a much appreciated change made to the musical is a fun sequence of celebrity impersonators strutting their stuff, including; Billy Idol, Cyndi Lauper, Gene Simmons, and Cher among others. 

This feel-good hit will have you singing, laughing and dancing along; happy to see such familiar a familiar story and characters brought to the stage. The Wedding Singer will be in Melbourne until 5th June, so head on over to their website to catch the biggest wedding of the year!

Jagged Little Pill: A New Musical From Alanis Morissette has reached Melbourne after a successful sold-out tour in Sydney. The 15-Tony nominated musical and broadway smash hit manages to tackle an important range of prevalent social issues in today's society, while keeping the career-defining album in tact, and at the heart and soul of the performance. 

Jagged Little Pill, now a 26-year old album, showcases the self-proclaimed 'hyper-autobiographical, stream of consciousness style' that the Canadian singer-songwriter is known for worldwide. The album's perfect blend of 90's alt-rock and teenage angst launched Morissette into musical immortality, resonating with audiences of all ages. Nine years ago, Morissette opened herself up to turning the album into a theatre production, on the condition that she would only proceed if it truly moved her - 'emotionally, psychologically, spiritually and intellectually'. The Tony-award winning story, written by Diablo Cody (Juno) manages to brings the album to life, and allows the musical to transcend beyond the lyrics. 

The story of Jagged Little Pill focuses on the Healy family. Mary Jane (Natalie Bassingthwaighte) is the ideal upper-class mother, obsessed with family image while dealing with a secret pill problem after a car accident brings up a past trauma. Husband Steve (Tim Draxl), who is struggling to balance family and work; their Harvard-bound son Nick (Liam Head), who is trying to discover the type of person he will become; and their adopted black queer daughter Frankie (Emily Nkomo). When fellow classmate Bella (Grace Miell) is sexually assaulted at a party, the whole Healy family becomes involved her story; tackling issues including misogyny, racism, transphobia and many other important issues. The plot is, at times, much more important than the songs that drew us towards the musical, and is a truly moving storyline fitting for the #MeToo movement. 

The musical's director Peter Rutherford does a fantastic job of bringing the hits to life. With a stacked first act with Hand In My Pocket, Ironic, Perfect, Wake Up and ending with Forgiven, it's hard to imagine it getting better (spoiler - it does). Act 2 is supercharged with Head Over Feet, You Oughta Know, Uninvited, Thank U and You Learn. The highlight of the night for most of the audience was breakout star Maggie McKenna, who plays Jo, delivering a powerful rendition of You Oughta Know, resulting in the first standing ovation mid-performance that we've ever experienced. Special mentions also go to co-stars Grace Mielle who plays Bella, and Aydan who performs in the role of Phoenix. 

Whether you are a super fan of Alanis Morissette or enjoy a night at the theatre, there's easily something for everyone in Jagged Little Pill. Check out their website or Ticketmaster to grab your tickets today.

For two nights only at The Palms Crown Casino, was Cabaret de Paris, a homage to the glamour of Paris, showgirls, and dance. Leading the 90-minute show was none other than the legendary Rhonda Burchmore, who opened the revue with a rendition of Diamonds Are a Girl's Best Friend. Decked head to toe in a glittering get up, Rhonda had us all captivated from the minute she walked on stage, to the second the show ended. Having opened up The Palms back in 1997, it was only fitting for her to reopen the venue after a rollercoaster of a year!

Featuring incredible performers who have worked on Moulin Rouge, as well as other French cabaret shows, the showgirls displayed spectacular talent across a range of dances, flexing their acrobatic skills and years of hard work. Of course, it wouldn't be a show that's all things French, without the Cancan - complete with the traditional dresses! The costumes throughout the night were dazzling (we don't think we've ever seen so many feathers), and just when you thought a costume couldn't get any crazier, you were proved wrong.

Having been the mastermind behind Cabaret de Paris, illusionist Michael Boyd wowed the crowd with some jaw-dropping magic tricks. His show included disappearing assistants and pyrotechnics, which still have us scratching our heads in disbelief. Rounding out the performers was also aerial pole work and a contortionist, who both stretched their bodies to new limits, and showed off their incredible strength. There's several moments of the night where there's so much going on, that we don't know where to look - choreographers Todd Patrick and Matt Browning having truly pushed all performers to their limits for this revue.

Ooh la la, what a night! Given that the show was put together in a matter of weeks, were blown away by the amazing production and all the remarkable people who were involved. Cabaret de Paris' run in Melbourne has come to an end for now, but you can catch them next in December in Adelaide, or April next year in Sydney. Visit their website to buy tickets now!

Take off your boxing gloves, and put on your dancing shoes - because Billy Elliot is here to razzle Melburnians. Billy Elliot The Musical was brought to the stage by the multiple award-winning creative team behind the film, including writer Lee Hall (book and lyrics), director Stephen Daldry, and choreographer Peter Darling. Add in a score composed by Sir Elton John, and you have a surefire hit.

From start to finish, Billy Elliot is an engaging, comical, and at times, emotional experience. Set in 1980s Northern Britain the musical deals with the coalminers' battle against the conservative government led by the infamous Maggie Thatcher. Times are tough for the community, and especially for the Elliot family as they grieve the loss of their mother. Father Jackie, played brilliantly by Justin Smith, exemplifies the stereotypical father of the time; supporting the strike with his eldest son Tony, who is passionate about the cause. Jackie pushes younger son Billy into boxing lessons, only for Billy to discover that he is intrigued by dancing, after he is asked to hand keys to Mrs Wilkinson (Lisa Sontag), the dance instructor who shares the gym for her dance classes. Sontag wonderfully portrays the role as the chain-smoking, quick-witted dance instructor, who is uninterested in her current students. Her passion is reignited when she sees Billy's talent and the opportunity for him to attend the Royal Ballet School.

Darling's choreography was indeed challenging - asking miners and police of the era who don't like dancing, to dance. Militant moves timed to perfection, weaving in and out, and a clever use of props such as chairs, hats, truncheons and rolled up newspapers was highlighted in the powerful song Solidarity. The song Merry Christmas Maggie Thatcher was a crowd favourite, with a satirical dig at the Iron Lady. Actors wore Maggie Thatcher masks on the back of their heads, swaying and swinging. The grim reaper chased Maggie around the stage amidst an entertaining puppet show, with a monstrous inflatable Maggie Thatcher dwarfing them in the background.

The audience fell in love with Billy's endearing and eccentric Grandma (played by Vivien Davis), who has a habit of leaving pastries in strange places around the kitchen. She steals the show in Grandma's Song, where she recalls her 33 years of marriage - being less than complimentary towards her husband. Other crowd favourites included Billy's friend Michael, played by Oscar Mulcahy, whose whimsical nature provided plenty of entertainment. A highlight was cross-dressing scene Expressing Yourself, where the actors display their dancing prowess amidst giant, colourful dresses on coathangers. The ballet centre pianist Mr Braithwaite (Dean Vince), boxing instructor George (Robert Grubb), and Mrs Wilkinson's daughter Debbie (Ella Tebbutt) also provide terrific comedic relief throughout the production.

There are emotional moments in the show when Billy shows a letter from his dead mother (Danielle Everett) to Mrs Wilkinson, and then writes and sings with her in A Letter of Reply. In both scenes, Everett's angelic voice leaves the audience wanting more.

The show indeed is about Billy Elliot, and on opening night, River Mardesic played the title role (which he alternates with Omar Abiad, Jamie Rogers and Wade Neilsen), and he confidently carried the entire show on his shoulders. He was able to follow every move Darling threw at him, including impressive tap routines with ease. The highlight of his performance was the scene between him and his older brother (Aaron Smyth), as the audience sees him progress into an adult. Their dance is nothing short of impressive, where the lighting transforms the dancers and captivates the audience.

Plaudits and congratulations to all cast members and the production team on their show. Audience members in unison gave a voluntary, well-earned standing ovation after the performance. If you want a fast-paced, action-packed show to see, Billy Elliot is that show. Tickets are on sale now, so make sure you head to their website to lock yours in now!

Photo Credit: James D Morgan (Getty Images)

Broadway hit Barnum returns to Melbourne for a run at the Comedy Theatre. Following the life of showman and politician P.T. Barnum, the show has been reimagined for Australia by director Tyran Parke, who brings the magic and awe of the circus to the stage. MEL Live were fortunate enough to catch the show on the opening night and are keen to tell you all about it. 

P.T. Barnum is brought to life by Todd McKenney himself, who is easily one of Australia’s greatest showmen. McKenney’s charisma and charm makes him the perfect choice for the smooth-talking Barnum, which is only supported by his cheeky improvised moments and audience interaction. A standout moment for us was his tight-rope walking scene - one that had the audience watching with bated breath, and was followed by a massive applause. His unique brand of humour shone through each line, only backing up his portrayal of Barnum as a bit of a dodgy salesman. Special mention goes out to Todd McKenney’s one liner, as he takes to the tight-rope and yells, “Where’s Hugh Jackman when you need him?”. 

Supporting the wonderful McKenney is an assortment of talent; featuring Rachel Beck as Barnum’s wife Charity, Suzie Mathers as the ‘Swedish Nightingale’ Jenny Lind, and Kirby Burgess as the Ringmaster. Beck’s portrayal of Charity Barnum was one to behold; her moments on stage were touching, as she supported her husband through thick and thin. Playing the somewhat opposite of Charity was Mathers’ take on Jenny Lind, whose operatic voice was showstopping. Wrapping up a strong female stage presence, was Burgess, who flexes her talent on stage and plays an array of characters; switching in and out of personas with ease. 

Wrapping up the cast were the stars of Barnum’s show. With performances from Akina Edmonds as ‘the oldest woman alive’ Joice Heth, Joshua Reckless as General Tom Thumb, and the acrobatic talents of Embla Bishop, Robbie Curtis, Sarah Gray, Matthew Hamilton, William Meagher, Stephen McDowell, Vanessa McGregor and Karlee Misipeka, the circus troupe were complete. 

Jaw-dropping was one way to describe the show’s acrobatics and choreography. Featuring stunts such as a drop from a balcony, contortionists, and an aerial silk routine, there was no skimping on the amazing acts the performers were capable of. With the audience captivated by the stunts, the music and songs perfectly captured the feelings and emotions of each character, integral to the overall plot. Some of our favourite songs included the The Colors Of My Life series and reprise, One Brick at a Time, Love Makes Such Fools Of Us All, Black and White and Join The Circus. Musical director Stephen Gray did an incredible job, as did the orchestra backing. 

The show’s costume and set design is also worthy of a mention, capturing the essence of the show in the 1830’s. With a lot of thought and effort put in from the team, led by Dann Barber, the bright, bold colours and trim were rife throughout, reminiscent of the story’s period. The clever use of everyday objects as props thoroughly added to the show. 

Filled with something for everyone, Barnum is a must-see musical for all ages. Prepare yourself for plenty of ‘oohs’ and ‘ahhs’ as you see this year’s greatest show! Get in quick, exclusively at Melbourne’s Comedy Theatre from April 27 2019. 

Purchase your tickets from the below retailers: 

Barnumthemusical.com.au

ticketmaster.com.au or Ph: 1300 11 10 11

Photo Credit: Jeff Busby

West Side Story is considered to be one of the greatest Broadway musicals of all time, bringing together a creative team considered to be a who’s who of the Broadway world. With collaborations from Leonard Bernstein, Arthur Laurents, Stephen Sondheim and Jerome Robbins, this modernised portrayal of Shakespeare’s most famous story Romeo and Juliet. The musical takes place on the streets of New York and showcases two star struck lovers falling for one another in the middle of a turf war between two rival teenage gangs. 

The musical highlights a range of issues in a society fuelled by hatred and indifference, each character holding onto the beliefs of their parents. As The Jets, sons of previous American immigrants and the Sharks, recent arrivals from Puerto Rico battle it out across each social landscape, we find ourselves amazed at the incredible dance battles taking place, captivated by the Mambo and the Cha-Cha. We find ourselves rooting for a forbidden love that emerges and grows from the most unlikely of places. 

Produced by GWB Entertainment, Opera Australia and BB Group, West Side Story directed and choreographed by Joel McKneely brings to life a tale known all too well with a young cast of talented performers. 

Tony played by Todd Jacobssen and Maria by Sophie Salvesani are exceptional on stage, their adoration and yearning for each other quintessential as they perform iconic tracks including Maria, Tonight and Somewhere. It’s easy at times to forget that the musical is based on the world’s most important tragedy, and the performance has you reaching for tissues as the pair attempt to unite against all odds. In a place fueled by hatred between the groups, it becomes apparent there is no room for their love. 

Special mentions to Chloe Zuel as Anita, Noah Mullins as Riff and Lyndon Watts as Bernardo whose performances keep us on the edge of our seats. 

The music, originally written by Leonard Bernstein, is flawlessly performed each night by Orchestra Victoria, a 31-piece ensemble orchestra and Musical Supervisor and Conductor Donald Chan at the helm. 

West Side Story, a beloved classic, is currently on at the State Theatre in Melbourne. 

You can catch West Side Story from April 6-28 or see it on stage throughout 2019 in Sydney, Canberra or Adelaide. 

https://westsidestory.com.au/

The story of Frankie Valli and the Four Season returns to the stage in Jersey Boys; an award winning, happy-go-lucky documentary take on the success story of four boys from New Jersey making it big in the music world. The jukebox style musical’s track list will have you tapping your feet in no time, no doubt due to the massive dose of nostalgia. We were lucky enough to catch the show in its opening weeks, and were blown away by the onstage talent.

You obviously can’t have a hit musical without amazing vocals, and for that, Jersey Boys does not disappoint. Ryan Gonzalez stars as main man Frankie Valli, who sings with an incredible range and spot on impression of Valli’s voice. Supported by Cameron MacDonald as Tommy DeVito, Thomas McGuane as Bob Gaudio and Glaston Toft as Nick Massi, the Four Seasons are rounded out perfectly. Belting out tracks such as Bye Bye Baby, Cherry, Walk Like a Man, and My Eyes Adored You, the cast constantly had the audience cheering out, and several times throughout, in a standing ovation.

The rise (and fall) of the band was documented from the four different perspectives of each band member, giving the audience an in-depth insight into the stories behind the hits. Each perspective offered a better understanding of each character; from Tommy DeVito’s pride and arrogance, to Nick Massi’s goofiness represented by a single line throughout the show; ‘I should start a band…’ The band members used as narrators throughout was an effective device, providing a welcome change of pace through the two acts.

The show isn’t all laughs, reminding us that life isn’t easy, and even the best of us have our low moments. The costs the band pays throughout their career is highlighted through the loss of loved ones, failing relationships and financial troubles - all something audience members can relate to. This is only amplified by the cast’s intense emotion, and it’s fair to say that during a couple scenes of the show, a few tissues were brought out. 

While the set design is minimal, the director and cast make the most out of what they have - and pull it off effortlessly. After all, the audience aren’t at the show for the practical effects. Certain songs are supported by pop art-esque frames shown in the back drop. 

One of our favourite scenes was a montage of shows the band play, which comes to a climax when the cast shifts to face the back of the stage, and the audience is watching the band’s set as if they were backstage. Another highlight of the show came from the band’s ‘TV appearances’, in which we see the band play, while cameras also ‘film’ the performance, which is shown on the backdrop. It was these live performances that gave the audience a gritty, behind-the-scenes look into the lives of Frankie Valli and the Four Seasons.

Jersey Boys is showing for 8 weeks only, until the 14 April at Regent Theatre. Get in quick before tickets sell out - this is one not to miss! To purchase tickets, click here. 

Photo credits: Jeff Busby

Andrew Lloyd Webber’s School of Rock: The Musical is a Broadway and West End smash hit rock musical, an adaption of the 2003 film brought to live on stage. Currently on at Her Majesty’s Theatre in Melbourne, the cast of Dewey Finn and 36 children across the production aims to capture the essence of what it truly means to ‘stick it to the man’. 

The music written by Andrew Lloyd Webber and lyrics by Glenn Slater brings a unique perspective to a well-known story - leaving us with a greater insight into the life and struggles of both Dewey Finn and each of the students attending Horace Green. From the opening scene with a performance from No Vacancy, through to the final encore performed by the School of Rock, the production encourages audience members to settle into the most important Battle of the Bands concert to date. 

The musical goes a lot deeper than a band getting ready for a performance; speaking volumes to providing a voice to children’s most inner hopes, needs and desires. Whether it be dealing with issues such as attending a new school, being pushed towards a certain career or lifestyle, or not being heard by their parents, School of Rock successfully empowers the youth to follow their dreams and to shoot for the stars. Dewey Finn teaches the students of Horace Green that life is happening all around them and that they are capable of anything they put their minds to. In return, he learns what it’s like to find satisfaction and purpose. 

The real strength of the Australian production of School of Rock is the exceptional casting, with a well-rounded level of experience from the adults and pure talent from the children. Performing alongside the orchestral pit, the child leads performed their own instruments live throughout the performance, showcasing their musical talent as triple-threats - singing, dancing and acting. 

Brent Hill plays the wannabe rock star and loveable loser Dewey Finn; the moochy, messy best friend and housemate of substitute teacher Ned Schneebly. Hill perfectly understands what the audience expect from the main role, and both his singing and mannerisms throughout the show were on par with Jack Black’s famous performance from the original movie. With past credits including Rock of Ages and Little Shop of Horrors, Hill was perfectly cast to teach the kids a thing or two about rock and roll. 

Teacher’s pet Summer Hathaway was flawlessly portrayed by Stephanie Kipnis, who encapsulated the essence and neediness of the character with ease. Her presence was commanding in all aspects - often leading to her stealing the scene and the laughter. Guitarist Zach Mooneyham was captured by Zane Blumeris; whose guitar skills were mind-blowing. Blumeris’ character development throughout the show was great to watch, and needless to say, Zach's struggles with his father struck a chord. Katie, the School of Rock’s bassist, was played by musical theatre newcomer Remy Grunden, who pulled the iconic ‘bass face’ seamlessly. Grunden provided constant comic relief, which was more than welcome in an already hilarious stage show. 

At the end of the performance, it becomes clear that the results of the competition that were once deemed so important have become irrelevant to all characters on stage, and each one of them has shown a level of personal growth and acceptance of one another that in itself is the real victory. 

School of Rock is still in session. Throw away your textbooks. Your new homework assignment is to follow your passion and grab a ticket here. 

Photo credits: Matthew Murphy

Taking their production of The Comedy of Errors on a national tour, Bell Shakespeare's rendition of the The Bard's slapstick play is due to tour to 20 venues across the country, from July through to October. Longtime Bell Shakespeare collaborator Janine Watson is at the helm as the director of the farce; which centres around several cases of mistaken identity, unrequited love, and just pure chaos. Keen for a laugh, we were lucky enough to catch the opening night performance at the Arts Centre's Fairfax Studio, which opened to a packed theatre.

The play kicks off with high-stakes; Syracusian merchant Egeon (Maitland Schnaars) has just arrived in Ephesus, and is arrested almost immediately, due to the rivalry between the two cities. After monologuing his somber tale of his lost family to the Duke, he is told he either has to pay a thousand marks, or face execution. Meanwhile, one of Egeon's twin sons, Antipholus (Skyler Ellis), arrives in Ephesus, along with his servant Dromio (Julia Billington). Little do the two know, that both their twins are also in the city, which leads to many an awkward situation, as the two sets of twins are mistaken for each other constantly.

Facing off against the Syracusian Antipholus and Dromio, is their Ephesian counterparts played by Felix Jozeps and Ella Prince. The two sets of twins are hilarious to watch in action, as they are all unknowingly put into situations caused by the other. Supporting is the fantastic Giema Contini as Adriana, Antipholus of Ephesus' wife; Joseph 'Wunujaka' Althouse as her brother Luciano; Leilani Loau as the twins' mother Emilia; Alex King as the Duke; and Lauren Richardson as Courtesan and Angelo.

Set in the 70s, with Vegas-style neon signs, fun costumes (by Hugh O'Connor), and some disco bops to pull it all together, the production lends itself to a fresh new interpretation of the play. A few choice gender-swapped roles add an extra layer to the characters, with the role of Luciana now Luciano, and the Dromio twins interpreted as non-binary. Ultimately, as a tale of family reunions, all actors felt so natural in their roles - to a point that the audience could really tell they were having fun with it.

Whether you're a regular enjoyer of thespian pursuits, or just looking for some theatre that isn't your average play, make sure you check out Bell Shakespeare's production of The Comedy of Errors, which is playing at the Arts Centre Melbourne from 13-23 July. Head to their website to book your tickets nationwide.  

Photo Credit: Brett Boardman

After a sell-out season in Sydney and Brisbane, Dolly Parton’s hit West End production 9 To 5 The Musical has officially landed in Melbourne. Introduced virtually by Dolly Parton herself, opening night at the State Theatre at Arts Centre Melbourne was a resounding success. 

The musical, inspired by the hit film made in 1978, tells the tale of three work colleagues (Doralee, Violet and Judy) driven to the edge by their misogynistic and vulgar boss Franklin Hart Jnr. Writer Patricia Resnick describes the musical as 'three secretaries who have the worst boss in the world, and hate him so much they try to kill him'. 9 to 5 is about challenging the norms that were present in society 40 years ago, that are still around today - promoting the importance of equal rights and equal pay in the workplace. 

The storyline is supported by an incredible star-studded cast. Marina Prior (Violet Newstead) had worked her entire professional career at Consolidated Industries only to be overlooked because of her gender. Casey Donovan (Judy Bernly) is newly separated and trying to land on her feet in her first day in the professional world. Erin Clare (Doralee Rhodes) is a bright and beautiful country gal trying to overcome workplace gossip to find a friend at work. Caroline O'Connor (Roz Keith) is the administrative assistant swooning over her controlling boss played by Eddie Perfect (Franklin Hart Jnr.). 

Stand out moments from the first act included the title track performed by the full ensemble, I Just Might (Prior, Donovan, Clare), the hilarious Heart to Hart (O'Connor), and closing songs Hey Boss and Shine Like The Sun. In the second act, Prior steals the show with One of the Boys, O'Connor with 5 to 9, Perfect with Always A Woman, and Donovan with Get Out and Stay Out - receiving a standing ovation from the audience. 

Supporting the all-star cast are Lily Baulderstone, Zoe Coppinger, Mia Dabkowski-Chandler, Ben Gillespie, Emma Hawthorne, James Haxby, Emma Johns, Jay Johns, Ethan Jones, Sarah Krndija, Antonia Marr, Josh Mulheran, Tom New, Jake O’Brien, Matthew Prime, Jackson Reedman, Jordan Tomljenovic and Jessica Vellucci.

9 to 5 The Musical is an absolute must see for all Melburnians. Get your tickets now! 

A word from Dolly Parton: 

'I am so excited that 9 to 5 is finally opening in Melbourne,' said Dolly Parton. 'I know the Australian fans will get a real kick out of this musical like people from other parts of the world have!'

Melbourne Season Details:

Venue: State Theatre, Arts Centre Melbourne 

Season: Sunday 10 July to 18 September 2022 

Performance Times:  Wed -Thurs 7pm, Fri-Sat 7.30pm, Wed 1pm, Sat 2pm, Sun 1pm & 6pm 

Prices: From $69.00 (Transaction fees apply) 

Bookings: 9to5themusical.com.au or phone 1300 182 183 

Groups 8+ call 1300 889 278

Photo Credit: David Hooley

Based on the incredible true story that took place post 9/11 attacks, Come From Away is a strong contender as one of the best new productions to come out of Broadway in recent years. Written by Tony and Grammy nominees Irene Sankoff and David Hein, the musical takes place in the small town of Gander, Newfoundland. Following the shut down of the American airspace in the week of 9/11, the small Canadian town’s airport was flooded with 6,700 passengers from 38 different planes. What transpires is a heartwarming tale of compassion, companionship, and unconditional camaraderie. 

Returning to Melbourne for another season, we were once again transported back to Gander, and found solace in the goodwill and kindness of the town and the townspeople. The performance features the right amount of humour whilst taking on a combination of serious issues including racism, loss, grief and more. Come From Away’s underlying theme was always present, despite it being rarely referenced directly. The audience is there to experience the characters’ pain secondhand; feeling their sense of loss, confusion, anger, frustration as well as their need to understand, to comprehend, and to find meaning. You’ll laugh, you’ll cry, and you’ll experience the perfect balance of dealing with heavy themes in the most lighthearted and hopeful way.  

The musical, with Tony award winning Best Director, Christopher Ashley, and musical staging Tony nominee Kelly Devine, is well crafted with songs that are funny, intelligent and catchy. The audience gets an insight into the lives of the hosts (Welcome to the Rock), the experience of the passengers (28 Hours/Wherever We Are), as well as a series of songs and stories throughout the musical that juxtapose the individual’s experiences with the collectives. As the musical takes place in the series of days following the attacks, we see the passengers and townsfolk of Gander dealing with their own issues in different ways. We see the generosity of the Gander residents, intertwined with the gut-wrenching sadness shared amongst all of the people gathered around the various locations. Each individual character (and there’s quite a few!) has their own story and their own experiences; and the audience gets the chance to be invested in every single moment.

The cast does an incredible job of re-imagining the stories; jumping in and out of different personas as they each take on multiple roles. They take the audience back to a time where not only the passengers, but the world, were learning how to process their feelings and emotions surrounding the events of 9/11. Recounting each journey and experience that took place in Newfoundland and the surrounding areas, each member of the crew manages to convincingly convey the complex issues the key characters faced during the five days that followed. Based on true stories provided to the show’s creators during the event’s tenth anniversary, each audience member leaves with a different story having made the biggest impact during the 100-minute spectacular. 

The show’s minimalist set design encourages a focus on the people and their stories - adapting the space as needed to provide the cast with the bare minimum. All the focus is on each character’s stories, as the audience hangs off every word. Keeping in the theme with the show’s setting is the musical score - a Celtic influenced, sometimes folksy, sometimes haunting, backing track of violin and acoustic guitar. The songs themselves are hard hitting and powerful; the lyrics soul-crushing, yet optimistic. 

As an extra special treat, we were treated to an exclusive post-show Q&A with Janice Goodie and Bonnie Harris, two of the Newfoundlanders that characters were based on. Hosted by Mann About Town’s David Mann, the feel good spectacular continued as we learned more about their real life experiences. 

Come From Away is an insightful and feel-good journey into the lives of total strangers, stranded together on a small-town island while the world begins to change. The musical highlights the importance of hope and togetherness, and reminds us of what’s important. What just may be the future of musical theatre, Come From Away is a production not to be missed. You’ll laugh, and you might even cry, but you’ll definitely love what it has to offer. 

The show in Melbourne is on at the Comedy Theatre and is running until October 16.

Grab your tickets here. 

Visit the Come From Away website if you'd like to learn more about the true story. 

It’s hard to believe that 20 years has passed since Hairspray the musical debuted to rave reviews on Broadway. This show burst onto the American stage and reached international audiences quickly with its inclusive message and incredible energy. Australia was no stranger to the hype with its own ground-breaking adaptation of the musical in 2010 which featured a different creative team to the original. This production provides an Australian audience with the opportunity to witness this beloved performance in its original format and leaves everyone feeling big, blonde, and beautiful. 

This production spruiks an impressive cast, with some tried and true favourites. Todd McKenney and Rob Mills both pull out dependable performances in roles that largely allow those around them to thrive. Shane Jacobson is initially unrecognisable as the larger-than-life mother of Tracey, Edna Turnblad – a testament to the hair and makeup department as well as the actor. He plays this role with a charm and consideration that brings the character’s sole to the fore and does not create a caricature which is often the biggest risk in this role.

Of the headlining cast members, Rhonda Burchmore shines. She clearly relishes in the opportunity to play the villainous and conceited Velma von Tussle and (as we’ve come to expect over the years) makes the most of her striking stage presence. Asabi Goodman also shines in the role of Motormouth Maybelle – her vocals are exquisite.

Despite this, it’s the younger cast members who really bring this show to life. Carmel Rodrigues absolutely knocks it out of the park and holds this frantic show on her shoulders with aplomb. Sean Johnstone and Mackenzie Dunn are also excellent in their respective roles as Link Larkin and Penny Pingleton. But it’s Javon King who commands the stage as Seaweed J Stubbs with an incredible physical and vocal performance throughout – but particularly during “Run and Tell That”. 

This show is, in a word, fun. It’s an inclusive, positive story that celebrates the person inside. The 1960’s were a difficult time in America for a lot of people. While Hairspray doesn’t gloss over these issues by any means, it manages to capitalise on the enthusiasm, the energy, and the hope that we still rely on today when looking forward to a brighter future.  

Even if you think you’ve seen this show already (either the stage production or the movie), do yourself a favour and head off to the Regent Theatre. You can’t stop the beat. 

Get your tickets to spend time with the nicest kids in town here. 

Photo Credit: Jeff Busby

New musical theatre company Theatrical have debuted their Victorian premiere of Freaky Friday; a musical based on the novel by Mary Rodgers and hit Disney film starring Lindsay Lohan and Jamie Lee Curtis. This modern take set in present day is directed by Bronte Regos Thiele and features music and lyrics by Tom Kitt and Brian Yorkey (If/THEN, Next to Normal). The Chapel Off Chapel production takes the body-swapping comedy to new heights - bringing both heart and soul as hilarity ensues. 

Lead characters Ellie (Lyla Digrazia) and Katherine (Stephanie Powell) soar as stand outs in the performance, perfectly contrasting the struggles of adult responsibilities and adolescent relationships in high school. The production is supported by a stellar cast who manage to strike the right balance of comedy we’ve known to expect from this story, while tackling bigger themes around grief and mourning. 

The beauty of the story is the audience's opportunity to watch Ellie and Katherine navigate and understand each other's lives, and the empathy that is central throughout the show by walking a mile in each other's shoes. Supported by a number of hysterical tracks including Oh, Biology, Not Myself Today and Women and Sandwiches, this light-hearted comedy understands what audiences love about the novel and Disney film and bring them to life. 

Overall, Theatrical’s production of Freaky Friday is a must-see for anyone looking for a fun night out in Melbourne. Tickets are on sale now via theatrical.com.au 

Performance Dates

Wednesday 7 September, 7:30pm (preview)

Thursday 8 September, 7.30pm (opening night)

Friday 9 September, 7.30pm

Saturday 10 September, 1.30pm (matinee)

Saturday 10 September, 7.30pm

Sunday 11 September, 5pm (early evening)

Wednesday 14 September, 7.30pm

Thursday 15 September, 7.30pm

Friday 16 September, 7.30pm

Saturday 17 September, 1.30pm (matinee)

Saturday 17 September, 7.30pm

Sunday 18 September 1.30pm (matinee)

Freaky Friday Cast

Ellie: Lyla Digrazia

Katherine: Stephanie Powell

Mike: Michael Gray

Fletcher: Nathaniel Calleja

Adam: Thomas Martin

Savannah: Kate Thurkle

Gretchen: Charlotte Willis

Hannah: Maggie Lynch

Torrey: Tach Sutton

Danielle: Jessi Neilsen Carreño

Dr Ehrin: Jack Lear

Mrs Luckenbill: Isobel Smart

Parker: Michael Polines

Wells: Peter Overton

Laurel: Sarah Genis

Grandma: Melissa Cox

Grandpa: Warren Overton

About Theatrical 

Theatrical is a not for profit and registered charity from Executive Producer Andrew Gyopar (If/THEN, Little Women), an independent musical theatre company with a mission to provide opportunities for disadvantaged and underrepresented groups who might not otherwise have access to participate in musical theatre.

theatrical.com.au

@theatricalinc

Photo Credit: Nicole Cleary