Category: Concert Reviews

Posted on by Lauren Katulka

Dermot Kennedy @ Hordern Pavilion, 21 May 2022

If there was ever a sign that Australia’s moving into a new phase of pandemic life, it’s the steady stream of international performers arriving on our shores. I finally broke my international gig drought on Saturday night when I caught Dermot Kennedy at the Hordern Pavilion.

I was thrilled to see Miiesha named as the support on this tour. Her album Nyaaringu was one of my favourites of 2020, so I was pretty excited to finally see her live. That album, released as the Black Lives Matter movement gained traction made such insightful comments about culture, race, and division. What a shame the sound mix didn’t do her justice. While her band was fire, the mix which put their instruments over Miiesha’s vocals was disappointing. Miiesha’s words deserve to be heard. She gave such energy and swagger, but it couldn’t quite make up for the mess coming out of the speakers. I’m going to have to catch her again some other time.

Thankfully those sound issues were sorted by the time Dermot took the stage. I’m not sure my heart could have taken having this moment tainted by sound issues. According to my Spotify stats, Dermot was my most-streamed artist of 2021. There’s something special about musical pandemic discoveries. At a time when so much of the world seemed dark and grey, finding the right music can bring colour. Seeing that person who lifted you up delivering the songs that you felt right down to your bones is special. He started with “Lost,” a song that reminds me so much of my husband and the dark time he went through stressed about a job that he eventually lost. I sang along with every fibre of my being, feeling such jubilation and joy. I’m sure we’ve all had those experiences, where someone comes on stage and you just feel such overwhelming happiness. What a rush.

The beautiful thing is that it happened so many times. Those moments with those songs that were just so perfectly exquisite. Me connecting with the songs, as so many people in the sold-out room did. Dermot connecting with the people in the room and his own songs. The emotion in his voice attested to that. What a thing to witness.

While Dermot was perfect and I’m sure a great proportion of the crowd was too, unfortunately, my experience was marred by some punters. I’ve always been a really attentive concertgoer. You’re there to listen. Sing along, absolutely, but it’s not the place to have a conversation. Especially not in the quiet moments. I cringed as I tried to listen to Dermot’s words between songs, hoping he couldn’t hear the chatter as he explained their inspiration. I tried desperately to drown the murmur of voices out as he so beautifully sang “For Island Fires and Family” acapella. Maybe it makes me a stick in the mud, but there are plenty of other places to chat with your mates, double-fist booze, and take selfies. We’ve been without international artists for so long. How about we just soak up the moments we have with them?

That annoyance aside, Dermot was everything I hoped he would be. His voice was spinetingling. I found myself wiping away tears more than once. He’s such a special performer. I only hope that next time he tours he plays venues where the whole crowd gives him the attention he deserves.

Image source: own photos

Posted on by Lauren Katulka

1927 @ The Art House, Wyong – 2 April 2022

After so many months without live music, nobody takes it for granted. Not the audience and not the musicians who are so excited to reconnect with fans again. I’m not sure how long this wonder will last, but it’s beautiful to witness. I felt genuine excitement as I took my seat at The Art House in Wyong for 1927’s show on Saturday night.

I think this is the first time I’ve ever seen a band’s lead singer doing double-duty as support act. I wasn’t sure what to expect from Eric Weideman’s set. Stripped back versions of the 1927 songs we’d hear later? Covers? It turns out he has some stellar solo material that I was so thrilled to hear. He told us he’d much rather come out and play for us than keep sitting backstage, adding that these were the songs he plays in his bedroom. With just an acoustic guitar and minimal staging, we were transported there. It was a short but intimate set. Without the other members on stage, Eric was free to chat a little more about the songs and the people who inspired them.

I’ve seen 1927 at pubs and festivals, but never quite like this. While I loved being smashed against a barrier back in the day, this more sedate sit-down theatre show feels much safer in these pandemic times. The band certainly didn’t take it easy, delivering tracks like “You’ll Never Know” and “Propaganda Machine” with as much energy as they ever did. That’s especially impressive when you remember the band released their acclaimed debut album …Ish 30 years ago. I know. I don’t like that fact either.

This show wasn’t just about nostalgia though. While tracks from that beloved album dominated, 1927 also showcased some new material. I particularly loved a track called “Shine” which Eric dedicated to all of the fans who’d been there since the beginning. The appreciation this band has for us was evident through the show, from the generous set featuring all the hits and fan favourites to the way Eric spoke to us. He gave thanks to us and reminded us that we are the reason for their success and longevity. Watching him sit on the edge of the stage during “Compulsory Hero” to get just a little closer to us all was beautiful. Even the band’s decision to return quickly to the stage rather than milking us for an encore showed respect. “If I Could” is always the encore. If the band is tired of it though, they don’t show it. Instead, Eric encouraged us to sing along and it was beautiful. And after so many months when we couldn’t do that, I think we all appreciated it just that little bit more.

1927 will be on tour for many more months yet. Catch them at one of the following venues near you.

8 April 2022 – Byron Theatre, Byron Bay
9 April 2022 – Jetty Memorial Theatre, Coffs Harbour
10 April 2022 – Manning Entertainment Centre, Taree
22 April 2022 – Lighthouse Theatre, Warnambool
23 April 2022 – The Cube, Wodonga
27 May 2022 – Mildura Arts Centre, Mildura
28 May 2022 – Chaffey Theatre, Renmark
3 June 2022 – Norwood Concert Hall, Norwood
4 June 2022 – Northern Festival Centre, Port Pirie
10 June 2022 – Middleback Theatre, Whyalla
11 June 2022 – Barossa Arts Centre, Tanunda
17 June 2022 – Montreal Theatre, Tumut
18 June 2022 – Orange Civic Theatre, Orange
1 July 2022 – Capitol Theatre, Tamworth
2 July 2022 – Dubbo Regional Theatre and Convention Centre, Dubbo
22 July 2022 – Karralyka Theatre, Ringwood
23 July 2022 – West Gippsland Arts Centre, Warragul
12 August 2022 – The J Theatre, Noosa
13 August 2022 – Moncrieff Entertainment Cente, Bundaberg
20 August 2022 – Princess Theatre, Brisbane
26 August 2022 – Country Club Showroom, Launceston
27 August 2022 – Wrest Point Showroom, Hobart
2 September 2022 – Glasshouse Theatre, Port Macquarie
3 September 2022 – Cessnock Performing Arts Centre, Cessnock
9 September 2022 – Griffith Regional Theatre, Griffith
10 September 2022 – Civic Theatre, Wagga Wagga
16 & 17 September 2022 – Opera House Studio, Sydney
23 September 2022 – Laycock Street Theatre, Gosford
24 September 2022 – Blue Mountains Theatre, Springwood

Image source: own photo

Posted on by Lauren Katulka

Anthony Callea @ The Art House, Wyong – 4 March 2022

After 10 long months, I finally experienced live music on Saturday night. Seeing Anthony Callea at the Art House in Wyong was a wonderful return to live events. The venue was packed, but it’s still small enough to ease me into sharing space with other people. My husband and I kept our masks on, although it seems most of the crowd was happy the mandate was lifted. Whether you chose to mask up or not, there was a real buzz in the air, the anticipation that comes when so many of us haven’t had the chance to see shows or do much socialising at all of late.

My blog tells me this is the fourth time I’ve seen Anthony perform. I keep coming back because he’s one of the most consistent artists in this country. You know you’re always in for a good time, a celebration of great music, a lot of laughs, and some fabulous wardrobe choices. Opening with Wilson Phillips’ “Hold On” set the mood for a night of nostalgia. Anthony made his name performing covers, and he doesn’t shy away from it. Songs he performed on Australian Idol, including “I Want to Know What Love Is” and “The Prayer”, take pride of place in his set alongside newer reinventions. Janet Jackson’s Together Again, the song which lends its name to this tour, had some extra gravity as we celebrated coming together to experience live music.

Few artists seem as connected to their audiences as Anthony Callea. He chats to us like friends, regaling us with stories about his career, his time in lockdown, and that recent Celebrity Gogglebox appearance. He’s hilarious, a total natural in the spotlight. He wins the crowd over effortlessly, so when he wants to share a few newer originals penned during the pandemic no one minds a bit. They’re excellent, reminding us all that he’s much more than a talented vocalist. But of course, he knows what we’re all there for and before long he’s encouraging us to sing along to another old favourite. We came to the end of the night all too quickly, but not before he busted out some Rick Astley, encouraging us all to dance and sing. I’ve been a bit wary of that kind of thing during the pandemic, but I couldn’t resist standing and grooving along. It was a small step, but the perfect way to end a fabulous night of entertainment. The Together Again tour has just two more stops left. Catch him if you can at the following venues:

11 March 2022 – The Events Centre, Caloundra
12 March 2022 – Twin Towns, Tweed Heads

Posted on by Lauren Katulka

Ben Folds @ Bimbadgen Estate, Pokolbin – 8 May 2021

As I shiver through this unseasonably chilly May weather, it’s hard to believe I was basking in the sunshine at Bimbadgen Estate’s first (and hopefully not last) Cellar Door Series concert less than two weeks ago. There was so much to like about this event. The weather was glorious, warm without being sweltering as it is so often during the Day on the Green series. With a reduced COVID-safe capacity, we had plenty of space to spread out in our allocated squares. As an added bonus, the queues for lunch, booze, and the toilets were blissfully short. With just two acts on the bill, we were heading home by 6. How very civilised! And of course, those two acts were a big reason to love this show.

I’ve long admired Gordi’s gentle, folky music, so I was thrilled to see her in this setting. Her songs would have been too subtle for a big Day on the Green audience, but here among a smaller group of serious music fans they hit the right note. She held our attention with her hypnotically soothing voice and poetic lyrics. She chatted openly with the crowd, relishing the chance to get up in front of fans and support Ben, an artist she’s long admired. The surprise addition of Gordi’s long-time friend and sometimes collaborator Alex Lahey on a few songs they wrote together was a real thrill.

While I appreciated Gordi’s set, my excitement hit fever pitch for Ben Folds. After the COVID pandemic put the brakes on the local music scene, I’ve appreciated any chance to see live musicians doing their thing. But watching an international star play live is such a rare experience in the current climate. I relished it.

Ben seemed just as excited at the setup, marvelling at the parents swinging their kids around and the wild kangaroos who stopped to watch his set. And why wouldn’t you when such a talent is on stage? He chatted easily to us, sharing stories of his life. Hearing how he saw legendary fighters before they turned pro with his dad set the scene for “Boxing.” Hearing stories of the people in his life who inspired “Uncle Walter” and “Bastard” gave them extra power. His nostalgic mood might suggest he’s missing the US, but he assured us there’s no place he’d rather spend the pandemic than Sydney.

I’ve seen Ben perform countless times over the years, but this set was probably my favourite. The pandemic might have something to do with it. I think I appreciate concerts a little more now my calendar isn’t stacked with them. But there was more than that. He was in fine voice, so enthusiastic to be back in front of audiences, and that glee was infectious. In a traditional gig, the lights go out and the connections dim. The performers can’t see beyond the first few rows and you struggle to make out the people around you. Here I could see the faces of people who adored this gig as much as I did. Holding my husband’s hand as we both looked at each other during “The Luckiest” is a concert moment I’ll hold close to my heart forever. Everyone in attendance that day shared something and it was beautiful.

This was a set for fans, which we all were judging by the way we enthusiastically sang Regina Spektor’s parts in “You Don’t Know Me,” clapped along to “Annie Waits,” and danced around to “Effington” and “One Angry Dwarf and 200 Solemn Faces.” We were much more excited to hear him close with “My Philosophy” than “Brick” or “Rocking the Suburbs.” No one seemed to care that those radio staples weren’t included in the set, because what we heard was so good.

The team behind A Day on the Green set their bar tremendously high with their first Cellar Door Series show. I’m not sure they could possibly top it, but I’m keen to watch them try.


Image source: own photos

Posted on by Lauren Katulka

Chant du Vin @ Brokenwood Wines, Pokolbin – 1 May 2021

I’ve been thrilled there are more gigs on the concert calendar lately, but I’m also pretty selective about what I’m seeing. Rising hotel quarantine cases mean I can’t quite breathe easy, and the cooler weather makes hermitting so easy. However, I found myself venturing out on Saturday night, and I’m so glad I did. Chant du Vin is a new concert series, but hopefully it’ll be around for some time.

If like me you love the laidback vibes of winery shows but aren’t quite ready to sit among a massive crowd, Chant du Vin’s concerts are for you. Chant du Vin plays several shows in each wine region, choosing small wineries for their venues rather than the massive vineyards that host the Day on the Green events. There couldn’t have been more than 150 of us at Brokenwood Wines on Saturday night, one of four Hunter Valley shows for the event. Those of us with general admission tickets relaxed on our own picnic rugs and the chairs and beanbags organisers had thoughtfully left while the VIP ticket holders looked down from the event’s double-decker bus. A quality menu of food options and top-notch wines added to the atmosphere. Can I just say what a welcome change it is to be able to buy a bottle at any time during a winery show? Heaven!

It was like the organisers looked at my own personal wish list before booking acts for this all-acoustic night of entertainment. It’s been too long since I’ve seen Mahalia Barnes shining in the spotlight. She’s always stellar providing backing vocals for her dad, Jimmy Barnes, but I relished the opportunity to see her playing her own set. Hard Expectations was one of my favourite albums of 2018, so I was thrilled to see some of its tracks making the set. She peppered the originals with singalong classics including “I Am Woman” and “Heading in the Right Direction,” a beautiful way to pay tribute to some of the female pioneers of the Aussie music scene.

Mahalia reminisced about falling in love with Jack Jones’ music when she was just 8. I marvelled that I was only a couple of years older. Surely that makes the music of Southern Sons some of the first I fell in love with independent of my parents’ influence. The funny thing is, when he plays it doesn’t seem like more than 30 years have passed. Songs like “You Were There,” “Lead Me to Water,” and “Heart in Danger” still stand up. Jack’s voice hasn’t wearied at all over the years. When you play acoustic, there’s nowhere to hide, yet it rang out clear as a bell. He might have dismissed them as perfect toilet breaks songs, but for this fan hearing some new tracks was a real thrill.

If it was meant to be a mellow night of music, Sarah McLeod didn’t get the memo. She might have played an acoustic guitar, but her irresistible energy brought the night home strong. It was an eclectic and slightly unhinged set, featuring everything from Gershwin and Mahalia Jackson standards to solo songs and Superjesus tracks. After seeing Sarah supporting John Waite a few years ago, I had an inkling what to expect and knew just to hang on and enjoy the ride. And what a ride. She’s brilliant.

The Chant du Vin website suggested the show would finish around 9 but the artists were having none of it. They joined forces for some singalong tracks, making the show feel even more like we were just hanging with friends. I can’t remember how long it’s been since I was at an event and encouraged to sing, but gee it felt good to join in for songs like “Slipping Away” and “Proud Mary.”

As I walked back to the car at around 10, I marvelled that this show was the most relaxed I’ve felt in public since the pandemic began. We all had our own space, yet still felt like we were sharing something with the musicians and other concert-goers. I didn’t feel like reaching for my mask. I chatted happily with the people beside me. It all felt so normal and so wonderful. If you want to get in on some of that, check out Chant du Vin at one of the remaining shows. Limited tickets are still available.

6 May 2021 – Ross Hill Wines, Orange
7 May 2021 – Stockman’s Ridge Wines, Orange
8 May 2021 – Tamburlaine Wines, Borenore
9 May 2021 – JS Wines, Nashdale
13 May 2021 – Calabria Family Wines, Griffith
14 May 2021 – Lillypilly Wines, Leeton
15 May 2021 – De Bortoli Wines, Bilbul
16 May 2021 – Casella Family Wines, Yenda
20 & 21 May 2021 – Lake George Winery, Lake George
22 & 23 May 2021 – The Vintner’s Daughter, Murrumbateman

Image source: own photos

Posted on by Lauren Katulka

Hamilton @ Lyric Theatre, Sydney – 10 April 2021

Like so many Australians I spent my 2020 birthday in total lockdown. The cruise I’d booked was cancelled. My best friend who insisted she’d be happy to sit in my place and drink wine couldn’t cross the border. For the first time ever there was no special meal out, just me and my husband. It was sucky, like so much of 2020, but one of the things that made the year brighter was the release of Hamilton on Disney+. As I watched and rewatched, unpacking and analysing it as I hadn’t done with a piece of work since high school English, it became my favourite musical. So when I heard it would make its Australian debut around my 2021 birthday, I knew how I wanted to celebrate my latest turn around the sun.

I wondered though, could the Australian production of Hamilton possibly meet my lofty expectations? I’d fallen in love with the Broadway cast, many of whom took home Tonys for their performances. Matching them was always going to be a tall order, but we should be proud of our talent here at home. Many of the Hamilton principals aren’t well-known … yet. But I believe this cast has many stars of the future. Lin-Manuel Miranda created Hamilton, so while his singing voice was never the strongest I couldn’t imagine anyone else understanding the role of Alexander in quite the same way. But Jason Arrow stepped into those massive shoes as if they were tailormade for him. Chloe Zuel was the perfect Eliza and Lyndon Watts a nuanced Aaron Burr. Matu Ngaropo brought the right amount of gravitas to George Washington and while I love Daveed Diggs, I think Victory Ndukwe did an even better job of separating the personalities of Lafayette and Thomas Jefferson.

If like me you were wondering whether the local cast could possibly keep pace with the rapid-fire rhymes, don’t stress. They’ve got this. Add in those incredible songs, beautiful costumes and staging, and you’ve got all the ingredients for a memorable time at the theatre.

If you’ve seen the Disney+ pro shot, you may wonder whether you need to see Hamilton in person. There’s an electricity about being in “the room where it happens” though. While I fell in love with Hamilton on my couch, I wouldn’t have given up the experience of witnessing it in person for the world. While I appreciate the way that the cameras guided my gaze at home, being able to take in the whole stage at any time and catch the movements that might have been off-frame made me fall in love with this musical even more. Nothing could replace the feeling of sitting with a crowd of theatregoers (100% capacity now, if you please), then standing with them to deliver the standing ovation this production so richly deserved.

As I glanced down my row, I was pleased to see my whole family joining me in that standing O. Even my father who was dreading the performance because he hates “rap crap.” There may be no higher praise than that. Hamilton is at Sydney’s Lyric Theatre until November 14. Tickets are on sale now from Ticketmaster.

Posted on by Lauren Katulka

Tim Freedman @ Laycock Street Theatre, Gosford – 12 March 2021

The Whitlams were one of my concert casualties of last year. While that gig has been postponed to August, Tim Freedman is putting himself in front of smaller crowds with his Hot Autumn Nights shows.

Byron Bay-based singer-songwriter Sam Buckingham warmed up the crowd. Holding the attention of a sold-out theatre there to see someone else with only an acoustic guitar and your voice is no mean feat, but you could have heard a pin drop during her performance. I remember seeing her play at a little bar in inner-city Sydney what has to be at least 15 years ago, and it’s thrilling to see how far she’s come. She’d delight us with a witty, light-hearted number, then go for the emotional jugular with something weightier. She chatted easily with the crowd, clearly delighted to be out in the world amongst music lovers again. Her set was a big reminder that I need to catch up on the music I’ve missed because she’s such a talent.

While we were appreciative of Sam, there was a buzz of excitement when Tim took the stage. We were thrilled to see him and it seems the feeling was mutual. I’ve seen him play live so many times over the years, both with the Whitlams and on his own, but I can’t recall him being in such a chatty, upbeat mood. He stopped to pause and talk between most songs, regaling us of tales of their origins. Not even the steady stream of people exiting and entering the venue for the bars and toilets seemed to faze him, as he joked that while he’d lose them for a while they always seemed to come back.

In some ways, a Tim Freedman show isn’t too dissimilar from a Whitlams show. The hits and fan favourites from the band’s back catalogue still make up the bulk of the set. Nothing was neglected, from the songs that climbed the charts like “No Aphrodisiac” and “Blow Up the Pokies” to earlier singles like “Gough” and “I Make Hamburgers,” released before the band really gained mainstream attention. A selection of choice covers peppered the set. I saw Tim paying homage to Harry Nilsson years ago, so I was thrilled to hear him deliver the poignant “Mr Richland’s Favorite Song.” He nearly forgot to deliver the Randy Newman cover the show’s ads promised, but “Short People” was a fun addition to the encore. Nilsson and Newman covers were natural choices for a piano-playing singer-songwriter, but his take on Joni Mitchell’s “Both Sides Now” was more unexpected. I’m so glad I could witness it.

I don’t have photos from the night to share; Laycock Street Theatre forbids photography. I don’t mind that rule too much though. It forces you to stop looking for that perfect shot and simply appreciate what’s happening in front of you. After the year we’ve all had, so starved of live music, sharing in those moments with Tim, Sam, and the appreciative Central Coast audience was so welcome. Tim will take his Hot Autumn Nights tour to the following venues in the coming weeks:

18 March 2021 – Theatre Royal, Castlemaine
19 March 2021 – Burrinja Cultural Centre, Upwey
20 March 2021 – Corner Hotel, Melbourne
21 March 2021 – Corner Hotel, Melbourne
24 March 2021 – Lizotte’s, Newcastle
25 March 2021 – Soundlounge, Gold Coast
26 March 2021 – The Triffid, Brisbane
27 March 2021 – The Triffid, Brisbane
30 March 2021 – Rockford Winery, Tanunda
31 March 2021 – The Gov, Adelaide
1 April 2021 – The Gov, Adelaide

Posted on by Lauren Katulka

Chess @ Civic Theatre, Newcastle – 27 February 2021

Last weekend marked one year since my pre-pandemic concerts. I stayed over in Sydney and caught Conchita Wurst and Jonathan Van Ness’s shows without a care in the world. Coronavirus must have been bubbling overseas, but we were oblivious to it as we filed into packed inner-city venues. Last weekend marked the first time I really felt like the world was returning to that level of normal, for most people anyway. If not for the QR codes checking in to the Civic Theatre and an announcement that masks were recommended, we might have forgotten the pandemic existed. Outside my party, I didn’t spot anyone heeding the Civic’s suggestions, even while crowding into the theatre. While the Art House left vacant rows down the front when I saw Rent, it seemed like a full house. Certainly, people weren’t afraid to whoop and cheer loudly when the curtain went up for this production of Chess.

I went into Chess blindly, tagging along with my eager parents simply because I didn’t want to be left out. However, I was quickly swept up in this story of international chess rivals and the woman they both loved. Silvie Paladino was a revelation for me. I knew she had vocal chops through her annual performances at carols, but I wasn’t prepared for her charisma and command of the role. I didn’t know much about David Harris, who local talent who splits his time between Sydney and New York, but he can see why he’s in demand on Broadway. What a voice. Australian Idol alum Marty Worrall definitely held his own playing opposite the people with their faces on the poster. He’s so captivating and cool, the perfect Freddie Trumper.

This was the biggest production I’ve seen since the pandemic hit. While Rent’s major characters are supported by a relatively small ensemble, Chess’s cast was backed by a massive choir. An orchestra on stage was inspired. I’ve never seen that before, but I’d love to see more of it. What the band does is so crucial to a musical, the players deserve better than being hidden away. But it did make for a lot of bodies on stage, another hint that Australia is feeling more relaxed.

This production was originally scheduled for late March 2020, so it was a long time coming. I won’t say Chess was my favourite musical, but for a couple of hours, it let me forget what the world had gone through in the last 12 months. International travel is off the table until who knows when, but this production transported me to Italy, to the Soviet Union … we even got a night in Bangkok. It was colourful, romantic, and above all entertaining.

Posted on by Lauren Katulka

“Rent” @ The Art House, Wyong – 7 February 2021

Living through a pandemic, I’ve learned that we can’t take things for granted. I recently read an article about Hamilton coming to Australia, with members of the original creative team sharing their joy that somewhere across the ocean people would get to the theatre and see their show. Not long afterwards I found myself at The Art House seeing one of my favourite musicals, Rent, fresh from its stint at the Sydney Opera House. Things were different, with QR code check-ins and masks (not compulsory, but smart and necessary for keeping my anxiety at bay). And there was no way we were allowed to moo (if you know, you know). But at the end of the day, I got to see artists bringing an iconic piece of musical theatre to life in front of my eyes, something that in much of the world still seems so far away.

This was the fourth different production of Rent I’ve witnessed and perhaps the most dramatically different. Art is a living breathing thing, it should keep evolving. While not all of the variations paid off, I appreciated that the Rent I saw in 2021 was very different from the one I witnessed in 1998. An elevated platform on the stage brought us the main action while supplementary action appeared just off to the side. Just like in real life, watching something occurring just off to the side added context: Maureen dancing intimately with male and female partners while Mark and Joanne delivered Tango Maureen” was especially effective. Using the pronoun “they” for Angel also made sense in the current climate; while Angel’s gender identity was never explicitly explained I think original creator Jonathan Larson would have been on board with its wokeness. Unfortunately, the pronoun wasn’t used consistently though, so it didn’t have quite the impact it might have. Most people wouldn’t have noticed a little lyric change in “We’ll See” but, for my husband and me, it seemed jarring and unnecessary. I really appreciated the extended jam and dancing before “Seasons of Love,” which made Act Two’s opening number seem more organic. While the song’s lyrics always resonate, its staging is all too often a little stilted.

The characters from Rent seem like old friends to me, so it’s interesting watching others slip into the roles. While the community theatre production I saw a couple of years ago had some standout performers, this production’s cast was consistently outstanding. I’ve never seen a more effective Angel than Seann Miley Moore. His performance blew me away. Tim Omaji was also so impressive as Benny. I really appreciated this production expanded the role a little and let Tim show off his dancing chops. Monique Salle was delightfully unhinged and endearing as Maureen. But there were a few missteps for me too. While Mat Verevis was commanding as Mark, he seemed too confident and cool for this character. He’s supposed to be an anxious nerd, not the handsome guy with flowing locks. The chemistry between Seann Miley Moore and Callum Francis was perhaps the most compelling I’ve seen between an Angel and Collins. However, Collins has always been a tenor. The songs didn’t quite sit right in a higher register, and I missed the contrast between their tones.

Despite some missteps, Rent is a little like pizza; it’s always good. And right now, at a time when so much of the world feels fractured, it was the perfect show. As the lyrics of “What You Own” say, this play is really about “Connection in an isolated age.” As this pandemic continues to play out, feeling that connection with artists and an audience felt pretty special.

Image source: own photo

Posted on by Lauren Katulka

Greg Gould @ The Art House, Wyong – 9 October 2020

It has been far too long since I’ve posted a concert review. The last time I went seven months without a concert I was probably in my early teens. I’m not sure I’ve ever gone that long without going out somewhere fun and social, but my husband and I have been hermitting hard during the pandemic. I wasn’t sure what it’d take to give me the confidence to venture out, but The Art House nailed it with The Stage Door Cabaret Sessions.

Before I talk about the Greg Gould show, I want to let you know all about the excellent measures The Art House has in place. The show was limited to just 45 attendees. We sat at tables on the stage in our ticket bubbles, further apart than the minimum 1.5 metres required. That left plenty of space for the venue’s staff to walk to deliver drinks and plates of cheese and antipasto to our tables. You could order them from a pop-up bar in the loading dock or via SMS from our table. We loved this option as it let us avoid bar queues. We were allowed inside as soon as we arrived and exiting was staggered to help us all maintain that vital social distance when we left.

The tables on the stage weren’t the only thing topsy turvy for this show. We entered and exited via the stage door, rather than the main entrance. A red carpet laid out for us made us all feel like VIPs. We used the bathrooms in the dressing rooms rather than those in the foyer. These changes made this show feel so special and gave us a new perspective of the theatre we all love.

The show started with a speech from Art House executive director, Anne-Marie Heath welcoming us back to the theatre and explaining the tradition of the ghost light, a light that traditionally stays on while a theatre is unoccupied. The Art House’s ghost light has lit up the theatre for seven months as the staff cancelled and postponed shows. What a thrill to toast to the Art House as that light went out.

And what a show to open the Art House with. Greg Gould has such an incredible voice, which could really shine in this intimate setting. It was his show, showcasing music from his current covers album 1998 and a few other choice cuts, but his special guests Andrew Worboys and Melanie Lewin were every bit a part of the show. Andrew Worboys provided piano accompaniment but also showed off his own vocal chops when Greg decided to tinkle the ivories. Melanie sang with Greg on his cover of “How Do I Live” on this album, but she showed her talent singing the parts of some of Australia’s most acclaimed female vocalists including Tania Doko and Prinnie Stevens. Greg and Mel are old friends, and their chemistry on stage really made the night something special.

1998 was an exciting time for me. It was my first year of university, that time when I really felt I was leaving my childhood behind and discovering my independence. Listening to songs from that period is such a nostalgic experience. Greg’s covers are so clever. He gives each song a new identity without straying too far from what made it great. And he’ll always out-sing a Britney Spears! I particularly loved his versions of “Together Again” and “Buses and Trains.” And that TLC medley had me wanting to violate that covid-safe no singing rule!

The Art House is showcasing the talents of other Central Coast talents like Greg, Mel, and Andrew at its The Stage Door Cabaret Sessions every Friday and Saturday night for the next few weeks. Tickets are incredibly limited to keep the events covid-safe, but I thoroughly recommend them if you’re anywhere near the coast! Head to The Art House website for all the details.

Image source: own photos