Posts with the label sydney
Showing posts with label sydney. Show all posts
Showing posts with label sydney. Show all posts
Thursday 22 August 2019
West Side Story, Sydney Opera House | Review
West Side Story
Sydney Opera House
Reviewed on Tuesday 20th August 2019 by Jamie & Emily
★★★★★
West Side Story- an explosion of colour and culture clashes and immerses all your senses as one of the most iconic musicals takes over the iconic Sydney Opera House. This heart wrenching tale of lovers from two sides is a rollercoaster journey, taking its audience through every emotion.
Director Joey McKneely has created an enthralling show. A set (Paul Gallis) you would think impossible with three moveable tiers, takes you around New York and you are truly immersed and transported.The choreography (Joey McKneely) is on point as it whisks and whirls around the stage; complimented by the fabulous costumes, and fantastically virtuosic playing from the Opera Australia Orchestra, a winning combination is created. Plus, what more could you ask for when listening to Bernstein's glorious score, than the brilliant acoustics of the Sydney Opera House?!
Maria and Tony take you on an emotional journey as the Romeo and Juliet story is transported to New York. The suspense of the rumble between the Jets and the Sharks keeps you on the edge of your seat with the first act leaving the audience in a state of shock, yet wanting more. The scene is set for the darker second act.
Tony (Daniel Assetta) is a particular stand out, his powerful tenor voice blows the audience away with each, perfectly controlled note and emotion portrayed. Just when you think the performance can’t get any better the duets between Tony and Maria (Sophie Salvesani) and the harmony they achieve blows you away. Their talent is like no other as the complement each other and soar together faultlessly.
All round, this production of West Side Story is full of multi talented individuals singing and moving around the stage with ease and power in this enthralling stage production.
The uniformly strong cast give impeccable and energetic performances with vibrant dancing, fantastic vocals and a dramatic plot. You'll leave the Opera House singing every song, and certainly won't forget this theatrical experience. What a great alternative to the usual evening of Netflix!
West Side Story runs at the Sydney Opera House until 6th October 2019
photo credit: Jeff Busby
Sunday 24 February 2019
Charlie and the Chocolate Factory, Captiol Theatre, Sydney | Review
Charlie and the Chocolate Factory
Capitol Theatre, Sydney
Reviewed on Thursday 21st February 2019 by Amy Mitchell
★★★
Roald Dahl’s enchanting book is brought to life in this reinvention of a part magic, part menacing classic. The story stays true to the original with some modern twists sprinkled through. Eccentric and reclusive chocolatier, Willy Wonka opens the doors of his chocolate factory to five lucky golden ticket winners. Paul Slade Smith plays Wonka as the wacky, charismatic Candyman peppered with the trappings of a psycho who revels in the demise of spoilt kids.
The first four golden ticket winners are exaggerated caricatures representing vulgar vices of modern society like social media, self-medication, self-obsession and lazy parenting. Augustus Gloop and his mother are a hysterically funny, sausage loving duo from Bavaria. Veruca Salt is reinvented as a Russian Ballerina who pirouettes and shrieks her way through to a deliciously wicked and frankly nutty end! Mike Teavee has a modern spin as a vacuous hacker with a social media compulsion and med dependant mum, and Violet Beauregarde is reimagined as a bubble gum popping, Instagram queen from Cali with an impossibly suave dad to boot.
The fifth lucky winner is chocolate obsessed, wise beyond his years Charlie Bucket. The Bucket family with Charlie’s grafter of a mother Mrs Bucket, and four-in-a-bed grandparents including kooky, kind hearted Grandpa Joe are all Australian in this adaptation. The script has been tweaked with a smattering of Aussie references which delighted the local audience. Mrs Bucket adds a soft touch to this sugar rush of a show, with a beautifully moving performance of If Your Father Was Here.
The staging, visual and special effects are for the most part fantastical combining illustrious projections and clever slide-on scenery – disappointing was the chocolate fountain, fashioned from a plain brown silk sheet it leaves a lot to be desired. The songs are a fun blend of classics (like Candyman, Pure Imagination and I’ve got a Golden Ticket) and reinvented pop and hip hop tunes which were catchy enough, however the lyrics were often swallowed by the performance.
The Oompa Loompas are a weird and raving triumph with the blend of puppetry and performers - this surprise was a show stopper!
Charlie and the Chocolate Factory is a magical and enchanting moral tale of kindness prevailing, wrapped up in an eccentric, sugar coated world of imagination. This show exaggerates the dark (Veruca’s squirrel centric demise got a few gasps from parents in the audience) and amped up the light with exuberant performances from a flawless sugar sweet cast.
Charlie and the Chocolate Factory runs at the Capitol Theatre until
Friday 15 February 2019
Peter Pan Goes Wrong, Sydney Lyric Theatre | Review
Peter Pan Goes Wrong
Sydney Lyric Theatre
Reviewed on Wednesday 13th February 2019 by Amy Mitchell
★★★★
Peter Pan Goes Wrong is a theatrical disaster panto crammed with slapstick calamities and magic misadventures. The production is framed around the JM Barrie classic and follows the formula that delighted past audiences with The Play That Goes Wrong, from the same creators Mischief Worldwide Theatre Company.
We’re introduced to a fictional and farcical troupe of amateur dramatists come outright nincompoops and their hapless attempt at putting on a play of Peter Pan. The scene is set on a revolving stage encompassing the Darling’s nursery, Neverland, the lagoon and a pirate ship. From the opening scene pandemonium explodes with absurd tomfoolery and monstrous malfunctions - lines are fluffed up, there are trips and falls galore, bunk-beds collapse, infidelities are exposed, stage-hands and props go rogue, Captain Hook has a minor emotional breakdown, Peter is concussed and Tinkerbell almost snuffs it.
A wildly energetic ensemble cast with brilliant comic timing have the audience chortling at the relentless abundance of frantic visual comedy, corny gags and quick change disasters. Where it’s light on musical numbers (although one will have you toe tapping home) it’s brimming with exuberant physical wit.
The cast are multi-task magicians, with stand-out performances from Tammy Weller jumping hysterically between housekeeper Liza, Mary Darling, Tiger-Lily and Tinkerbell and Jordan Prosser flitting between 4 year old Michael Darling (complete with baby pink pyjamas), desperate but loveable Max and unwitting underdog hero, the crocodile. Francine Cain triumphs with an over-acted shimmy-athon as Sandra and Wendy Darling and Connor Crawford’s patriarchal parodies as the director, Daddy Darling and Captain Hook are wonderful.
With only a smattering of surprises, the audience could anticipate the choreographed mayhem before it happened, and while the repetition stifled a few extra laughs, you’d be hard pressed not to maintain a delighted grin throughout at the playful and precise absurdity of it all.
Peter Pan Goes Wrong runs at the Sydney Lyric Theatre until 3rd March 2019
photo credit: David Watson
Friday 18 May 2018
Priscilla Queen of the Desert, Sydney’s Capitol Theatre | Review
Priscilla Queen of the Desert
Capitol Theatre, Sydney
Reviewed on Wednesday 16th May 2018 by Amy Mitchell
★★★
Warning: Adjective Overload
Priscilla Queen of the Desert, on it's 10th Anniversary tour, is an all bejewelling, all bedazzling, all singing (well mostly lip-syncing) all dancing, OTT, smut-fest, sprinkled with heaps of sentimentality.
Based on the 1994 award winning Aussie comedy-drama movie The Adventures of Priscilla, Queen of the Desert created by Stephan Elliott– This iconic Australian musical follows Sydney drag queen Tick (alter-ego, Mitzi Mitosis), Kylie Worshipper come sass machine, Felicia Jollygoodfellow and former glittering Les Girl, Bernadette as they jeté aboard their beaten up tour bus Priscilla. The trio embark on a voyage of friendship, self-love and acceptance as they “Go West” across the Aussie outback from Sydney to Alice Springs.
Jam packed with jukebox disco bangers like Son of a Preacher Man, It’s Raining Men and I Will Survive – with vocals often led by three belting divas suspended from the rafters, this movie come musical is a camp as Christmas bonanza- yet, amidst all the frocks and fancies this show has heart. Our three main characters navigate through wild bush and even wilder prejudice while Tick prepares to reunite with his 6 year old son Benji, all the while battling the fear that he won’t be accepted for who he really is.
The show is scattered with witty one-liners, innuendoes and sass a plenty – as a whole it lacked a bit of substance and moved at a pace that made it difficult to truly believe or understand the deep connections of the three main characters. The set was clumsy at times and some of the racial gags fell flat on the PC sensibilities of a 2018 audience.
Back to the positives and don’t get me wrong they were bountiful! Euan Dodge slays as the naive yet outlandish Felicia, his debut rendition of Better The Devil You Know was a riotous affair. David Harris is brilliant as Tick, see-sawing between heartstring tugging ballads like True Colours to thumping disco tunes. Tony Sheldon plays Bernadette, a role he sharply delivers with class, poise and a fabulously acid tongue.
The costumes! The costumes need an adjective of their own. An insanely fantastical abundance of glitter splattered, nonsensically superfluous garb that tickled the audience until curtain’s closed.
Priscilla is more EXTRA than a Wrigley’s factory, and at it's heart a tremendously extravagant celebration of acceptance, draped in a kaleidoscope of colour and fun!
Priscilla Queen of the Desert runs at the Capitol Theatre until July 21st 2018
Wednesday 16 May 2018
The Book of Mormon, Sydney's Lyric Theatre | Review
The Book of Mormon
Lyric Theatre, Sydney
Reviewed on Tuesday 10th March 2018 by Amy Mitchell
★★★★
The Book of Mormon opened on Broadway in 2011 and since then has been showered with Tony Awards, international re-runs and widespread critical acclaim. Now, I’m a self-confessed sucker for show tunes, but to my own surprise I had little to no idea what this mammoth in musical theatre was all about before I took my seat (3 rows from the front- smug!) in Sydney’s Lyric Theatre last week…
Writers Trey Parker and Matt Stone (creators of South Park) and songwriter Robert Lopez (Disney’s Frozen ring any bells?) joined forces to concoct a joyous melange of politically incorrect subject matter, riotous stereotyping and unapologetically crass humour all tied up in an oddly charming, toe tappingly melodic bow.
Book of Mormon follows the journey of two young Mormons and their quest to spread the word of the Church of the Latter Day Saints. Elder Price is a cookie cutter Mormon poster boy while Elder Cunningham is a hyperactive, loveable dork with a penchant for lying and Sci-fi movies. This unlikely duo is sent to a remote Ugandan village on a quest to convert its inhabitants to the Latter Day Saints. Their visions of an Africa a la Lion King are abruptly shattered as they encounter AIDS, female genital mutilation and a tyrannical warlord with an unprintable moniker.
As Elder Cunningham, Broadway’s own A.J. Holmes dominated the stage with his enormous presence and side splitting physical comedy. It was one of those performances where it’s nigh on impossible to imagine there being an actor behind the character.
Elder Price was played by understudy Steve Danielsen. Danielsen was superb, his all Australian good looks and strong vocal performances managed to make the audience warm to an obnoxious and potentially unlikeable character.
In fact, the entire cast was stellar. It’s impossible to decipher who stole the show. Aside from our two main Missionaries, the best performance title could equally have gone to PJ Adzima who played Mission Leader Elder McKinley. His energy could genuinely take your breath away. Also a close contender was Aussie local, Zahra Newman who played Nabulungi, daughter of the village chief. Her vocals in Sal Tlay Ka Siti (Salt Lake City) were nothing short of heavenly.
The Book of Mormon score/lyrics are brilliant and will have you cringing in half delight at the controversial lyrics peppered with comedic hooks. Spooky Mormon Hell had the audience erupting in laughter and Joseph Smith American Moses is equally hysterical.
Each song draws inspiration from well-known musicals, e.g. Hasa Diga Eebowai is reminiscent of the Lion King’s Hakuna Matata. Challenge – try and guess the parody. Hint – think West Side Story, Avenue Q, Fiddler on the Roof, Wicked and Hairspray.
There’s been a certain amount of hullabaloo surrounding the religious and racial overtones of the show. I’m actually surprised Book of Mormon got the go ahead (and unsure if it would if it was pitched in 2018!) but I’m not surprised it went onto become a smash hit. To me, it delivers on so many levels and the delightfully distasteful satire (in true Trey Parker and Matt Stone style) has a palpable social conscience.
Wickedly witty, The Book of Mormon pokes fun at the seemingly un-pokeable and ultimately manages to leave the audience with the cheerfully uncomfortable warm fuzzies. It’s also fantastic to see homegrown Australian talent holding their own (and killing it) alongside the Broadway greats.
The Book of Mormon runs at the Lyric Theatre, Sydney until 2nd September
photo credit: Jeff Busby
Friday 5 January 2018
The Wizard of Oz, Capitol Theatre | Review
The Wizard of Oz
Capitol Theatre, Sydney
Reviewed on Thursday 4th January 2017 by Faiza Rahman
★★★★★
Andrew Lloyd Webber would have been over the rainbow with the Sydney premier of The Wizard of Oz. From the moment the stage curtains opened, the audience were captivated. Personally, just for a moment, I forgot whether I was watching a movie or a show because of the pure essence of the way that the stage was set and the way digital media was used to give the audience a feeling of inclusion in the story and world of Oz.
Samantha Dodemaide does a whimsical job of taking us into the land of fantasy (apart from Dorothy’s red shoe coming off her foot when it was supposed to be stuck!) This slip up was ignored with grace from Samantha as the audience giggled and quickly forgot, whilst she continued to perfectly capture the golden-age naivety. Lucy Durack as Glinda won me over with her witty one-liners and effervescent outfit. Eli Cooper’s Scarecrow act was certainly not spineless – his bendy limbs wrapped us in admiration; alongside John Xintavelonis’ Cowardly Lion’s witty and ‘scary’ roar and Tin Man’s (Alex Rathgeber) heartless love and robotic movements. The Wicked Witch of the West (Jemma Rix) – well, that laugh explains why she was the perfect person to embody her character, for not one moment did I not adore her evilness, as weird as that may sound- she was brilliant!
The star of the show was the costume and set design by Robert Jones, supported by Jon Driscoll and Daniel Brodie’s engrossing video and projection work. Vorticist projections were used to evoke the Kansas cyclone that took Dorothy into the dreamworld and took us there too. The lighting and effects used on the walls of the theatre enhanced the experience and created an ethereal atmosphere that delved us straight onto the yellow brick road and at times I really felt like I was a part of the show.
The costumes were visually appeasing – what particularly impressed the audience was when Dorothy’s dress changed colour as she conducted a twirl across the stage from her regular dress to a sparkly green version as she entered Emerald City. The screens used to create the feeling of depth were perfectly controlled and used well to create the feeling of distance to emerald city. My highlight was when Dorothy, Tin Man, Cowardly Lion & Scarecrow were put in the dome by the Wizard – it looked so 3D and realistic, everyone was astounded.
I was taken back to my childhood through the music. Samantha Dodemaide’s voice projects an innocence yet heart wrenching power, like a force leading her back home to Kansas. Although since 1939, The Wizard of Oz has taken on many variations, this one stays grounded in the characters and echoes that there is no place like home, even with its modern twist.
The Wizard of Oz runs at the Capitol Theatre until 4th February 2018
photo credit: Jeff Busby
Thursday 28 September 2017
Beautiful: The Carole King Musical, Lyric Theatre | Review
Beautiful: The Carole King Musical
Lyric Theatre, Sydney
Reviewed on Wednesday 20th September 2017 by Amy and Vic
★★★★★
The night started with two twenty something girls who had no clue who Carole King was (don't judge us!) and ended up with two brand new super fans, striding out of the theatre arm in arm, belting 'You've Got a Friend' and wistfully longing we could transport back to 1960s Brooklyn.
Beautiful: The Carole King Musical is a Grammy winning musical which debuted in Sydney, Australia this week with a local cast after first dazzling Broadway in 2014. The show is a musical biography based on the early life of Carole King, whose music has been referred to as “the soundtrack of a generation” – admittedly not our generation but boy do we wish it was!
Pyrmont's Lyric Theatre in Sydney was buzzing with Carole King devotees young and old, excited to take a trip down memory lane in joyous celebration of one of the world's greatest songwriters. It made the evening all the more sentimental, imagining our parents hippy clapping away, bellbottoms swinging to ‘Locomotion'.
From the opening scene and throughout, Esther Hannaford's Carole was an incredibly loveable and endearing character who engaged the audience with her humility, kindness and gentle humour. Despite her immense success and undeniable creative genius, Carole's personal life was tumultuous and peppered with periods of romance and heartache. The tapestry of classic pop and rock and roll music was powerfully nostalgic, and there was a sense of magic in watching the song writing process and hearing the contrast between the writers demos and popular pop reinventions (including, The Shirelles, The Drifters, The Righteous Brothers and Neil Sedaka).
Beautiful predominantly focusses on the relationship between Carole and her first husband, Gerry Goffin, famed lyricist and long-time collaborator. Josh Piterman provided a compelling portrayal of Gerry’s raw strife and passion and there was a genuine chemistry between our leading couple. The relationship between Carole and Gerry and their friendly rivals, fellow singer/songwriter duo Cynthia Weil and Barry Mann provided some belly laugh moments and showcased some of their own classic hits including “You’ve Lost That l Lovin’ Feeling” and “We Gotta Get Out Of This Place”.
The entire production was beautifully staged and the cast were uniformly superb. Beautiful was a magical, moving, musical feat and the perfect night to delight across the generations. We couldn’t have told you who Carole King was before this show, turns out we’ve been a fan of her work for years - Oh! Carol, we love you.
The musical will run until December 23rd 2017
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