Tag: Australia

Posted on by Lauren Katulka

Hadestown @ Theatre Royal, Eora/Sydney – 7 March 2025

Theatre fans in Australia have been spoiled of late with outstanding major musical productions playing our stages for the first time. They don’t always find their audience; the premature closure of Dear Evan Hansen is a prime example. But I do hope that the industry continues taking chances on “fresh” works. The latest is Hadestown, which took home eight Tony Awards in 2019 including best musical.

I must admit, that was nearly all I knew about Hadestown, but it was enough to encourage me to grab some tickets. Sure I knew it was based on Greek myth and was aware of the roles its original Broadway cast assumed, but I was essentially flying blind. I love experiencing art like that, letting myself get swept up in the story and songs.

It’s very easy to get swept up by Hadestown. The characters break the fourth wall from the start, encouraging you to become part of their world, or should I say worlds. The mortal world feels like a New Orleans speakeasy, vibrant and full of life, a stark contrast to the cold dictatorship of the Underworld. Against these backdrops, the love story of Orpheus and Eurydice plays out.

If you know your mythology, you know exactly how it plays out. If you’re paying attention to the songs, you know how it plays out. And yet, when this production reached its climax, you could hear an audible, collective gasp. We weren’t ready.

Any production that can draw its audience in as Hadestown does is a winner in my book. I was so emotionally invested. While the Broadway bones play a role, so too does what the Australian cast brings to it. What a special collection of artists they are. Christine Anu is the only big name, returning to the theatre stage so many years after her debut in Rent. Her Hermes is undeniably Aussie, warm and wise. I appreciate that she stamped her own mark on the role rather than simply following Broadway legend Andre De Shields’ lead. Abigail Adriano and Noah Mullins are so compelling as Eurydice and Orpheus, playing their roles with earnest, youthful enthusiasm. I doubted anyone could embody Hades as well as Patrick Page, but our own Adrian Tamburini gives the Broadway icon a run for his money. Elenoa Rokobaro is such an incredible chameleon as Persephone, sunshine and fire depending on what the scene needs. And that voice! Speaking of voices, the Fates gave me chills every time they launched into their exquisite harmonies.

While most musicals hide their musicians in an orchestra pit, Hadestown makes them part of the show. They add to that speakeasy feel, showcasing their incredible talents on the stage and interacting with the rest of the cast.

There’s so much to love about Hadestown, I sincerely hope that Eora/Sydney and Naarm/Melbourne audiences get behind it. I understand that the cost of living is high and there’s so much competing for your entertainment dollars, but it’s one of the most impressive works I’ve seen. Don’t let this one pass you by.

Hadestown is at the Theatre Royal in Eora/Sydney until April 26, then plays Her Majesty’s Theatre in Naarm/Melbourne between May 8 and July 6.

Posted on by Lauren Katulka

The Book of Mormon @ Lyric Theatre, Sydney

Ordinarily when I see a musical theatre production I can’t wait to tell you all about it. But more than a week has passed since I saw The Book of Mormon and I still haven’t put fingers to keyboard.

It’s certainly not because the production was disappointing. It’s up there with the best things I’ve seen on a stage.

It’s not that I was reluctant to recommend it, although it’s not a musical I’d suggest everyone see. Chatting to a saleswoman at one of the fashion boutiques, I learned there have been many walkouts. During one of the earliest numbers, when F-bombs and C-bombs starting flying, I wondered about my own decision to take my parents for their birthdays. However, when they raved about how much fun they were having at intermission, I realised my parents are made of tougher stuff than I imagined. It’s certainly not for the easily offended or sensitive ears, but if you buy tickets for a musical by the creators of South Park you probably have some idea whether you can handle it.

Perhaps I’ve hesitated because I’m not quite sure what to say beyond what you probably already know. Unless you’ve been hiding under a rock, you know The Book of Mormon follows the journey of some American Mormon missionaries keen to save the people of Uganda through the power of the Good Book. The thing is, I think that’s all you really need to know. The less you learn about the intricacies of the musical beyond that, the better. I found it so rewarding to see a production that surprised me. In the recent past the musical theatre scene has been dominated by retellings of popular stories like Aladdin and Mary Poppins and biopics charting the rise of legendary musicians like Carole King and Bobby Darin. I’ve enjoyed those musicals, but I also knew where they were going. Even something original like Kinky Boots had an air of predictability about it. True love and our hero’s dreams would always win in the end. But you’re never quite sure where The Book of Mormon will take you, and that’s exciting.

I do want to tell you The Book of Mormon is exceptionally funny. I mean proper laugh out loud from your belly kind of funny. It’s also a very good musical. Don’t underestimate it on that front because Trey Parker and Matt Stone are behind it. The songs are as well-crafted as any you’d find in a Broadway hit. The cast is exceptional, singing and dancing with the best of them. It was no fluke that this show won the Helpmann award for best musical last year, and that goes beyond the edgy comedy. Perhaps one of the key reasons is that this is a show with real heart. I cared about the characters. I was invested in the storyline.

The Book of Mormon is certainly a musical with the power to offend. The walkouts are proof positive of that. But true art plays on the edges. If you appreciate that, make sure you don’t miss The Book of Mormon.

The Book of Mormon is currently playing at the Lyric Theatre, in Sydney’s Star Casino. It will then travel to Brisbane and Adelaide.

Posted on by Lauren Katulka

Beautiful @ Lyric Theatre, Sydney – 10 December 2017

I was seeing musicals before I ever saw a concert. The music of Carole King has been a constant comfort in my life. So when I heard of the musical Beautiful’s creation, I was so hopeful it would eventually land on Australian shores. My parents saw it on Broadway and raved about it, and that only heightened my anticipation. But could it possibly live up to all that hype. For me it’s an emphatic yes.

The performance of Esther Hannaford as Carole is the lynchpin of this performance and she excels. Carole has such a unique way about her and Esther captures her voice and mannerisms without ever becoming a caricature. She’s supported beautifully by other key players: Josh Piterman as the troubled, complex love of her life Gerry Goffin, Amy Lehpamer as her vivacious and loyal friend and fellow songwriter of note Cynthia Weil, and Mat Verevis as Cynthia’s own songwriting partner and beau Barry Mann. While this isn’t Weil and Mann’s musical, as a fan of their music I was excited to learn a little more about the lives of the creators. The chorus of minor players was also exceptional. They brought us The Drifters, The Shirelles, Little Eva, and the songwriters of Don Kirshner’s Dimension Records in a such superb voice and retro fashion.

The music of the era, especially the songs of Carole King, both on her own and with Gerry Goffin, are key to Beautiful’s success. But the story is no afterthought. It’s told with heartbreak and humour drawing the viewer in and helping them understand more about these songs that are such a part of the upbringing of many of us. The players weren’t there just because they could sing and dance well, but also because they could bring the right emotional note to that story. It was a curious decision to refer to a “Nick” who encouraged Carole as she broke away from Gerry and resolved to start a new musical journey in California, when it so easily could have been James Taylor. But this was really my only quibble as I watched Carole transition from teenage Carole Klein to the Grammy-Award winning Carole King playing Carnegie Hall.

Beautiful is at Sydney’s Lyric Theatre until February 4. It will then travel to Melbourne, Adelaide, and Brisbane.

Posted on by Lauren Katulka

Let the Eurovision Countdown Begin!

I didn’t post about this yesterday because I was too busy processing it. But if you haven’t already heard the news, Australia will compete for the very first time in the Eurovision Song Contest this year. It’s a gesture of goodwill to celebrate the 60th anniversary but one that’s sent me into a tailspin.

I have been a Eurovision tragic for as long as I can remember. I watch every night of coverage, cook European foods over the weekend to celebrate, and blast the hits from the competition at any time of year. On the day of the finale I take a strict media sabbatical – no Internet, no radio, no live TV – to avoid spoilers.

This year I won’t need to. To coincide with our inclusion, SBS will screen the finale live on the Sunday morning. Australia can also vote, although as any Eurovision tragic knows we’re voting for everyone but ourselves. We apparently won’t be eligible to host the next one, although if we pull off the world’s biggest upset the SBS will have a hand in organising it.

I’m also keen to see who we’ll be sending to represent us. Since the event happens in May I assume it’s too late to run a national song contest as other nations do. Jessica Mauboy did us proud last year, but I think we need someone fresh. I’ve seen online campaigns for everyone from TISM to David Campbell to Em Rusciano. I’m open to anything. Should we go theatrical and choose Dami Im, Anthony Callea, or Sia, or perhaps we should buck that trend as The Netherlands did fielding The Common Linnets last year (I told you I was a Eurovision tragic). I’ve heard people suggesting Dan Sultan, Jimmy Barnes, and Gotye, which all have merits. We’ve also got to find someone who’s willing to really embrace everything that Eurovision is.

We might not really be part of Europe, but I think it’s awesome that our nation’s longtime support of the competition is being rewarded. I haven’t been this excited since Aussies penned that song for Greece’s Sakis Rouvas in 2009. Let the countdown begin!

Image source: Wikimedia