Tag: musical

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

“Dream Lover” @ Lyric Theatre – 16 October 2016

When my family first heard a stage musical based on the life of Bobby Darin was in the works, there was only one man we could imagine successfully taking on the role. That man was David Campbell. We knew he’d be impressive, but I don’t think we were quite prepared for just how good he would be.

Dream Lover really is David Campbell’s show. His Bobby Darin is a presence in virtually every scene, and he shines throughout. We’re first introduced in Bobby on the night of what would be his final performance. I’ve seen David perform the opening number “Mack the Knife” several times over the years, but with back-up dancers and a tight orchestra (who are celebrated on stage rather than buried in the pit as in so many musicals) the song reaches another level.

From there we’re taken on a journey through Bobby’s life. We see him as a child with stars in his eyes, as a hard-working rock-and-roll singer, and as the toast of Hollywood with Sandra Dee on his arm. We’ve seen this kind of rags-to-riches tale before, but most musicals tend to shy away from the darkness Dream Lover isn’t afraid to explore. Bobby Darin’s stellar catalogue of beloved music ensures the show doesn’t get too gloomy.

Stepping into Bobby Darin’s shoes is no small feat. This is the Bobby Darin story after all. This character isn’t always likeable, yet there must be a charm about him that helps us forgive his unrelenting ambition. He sings, he dances, and he gives the production its anchor. David makes all this look easy, as the very best stage performers do. I’ve long admired his vocal chops, but I didn’t realise how impressive his acting skills are.

Special mention must go to Caroline O’Connor, a stage veteran who took on the dual roles of Polly and Mary Douvan with aplomb. Hannah Fredericksen brought the right amount of sweetness and strength to her portrayal of Sandra Dee and Bert Labonte was also excellent in the role of Charlie, a paternal figure to Bobby.

Sydney is lucky enough to have the world premiere of Dream Lover, although I’m sure it will tour around Australia in time. And after that, who knows? This musical is certainly solid enough to leave the country and grace the stages of Broadway or the West End. However, unless David Campbell commits to taking the role abroad, I can’t imagine it’ll be as good as the original Australian production!

Dream Lover is playing at the Lyric Theatre until at least November 27.

Posted on by Lauren Katulka

The Soldier’s Wife Delivers Songs of Women and War

If you want to experience a musical performance with a difference, get yourself to Canberra Street Theatre or the Opera House. These are the only places you’ll see The Soldier’s Wife, a special show developed by a group of singer-songwriters inspired by the time they spent talking to the wives and widows of Australian servicemen. The artists listened to their stories and turned them into song, creating a work which is a unique snapshot of Australia’s history.

The project aims simply to give women touched by war a voice. Through the songs you’ll learn about their sacrifice, their pain, their joy, and much more.

Headed up by The Soldier’s Wife’s musical director Deb Suckling, the production also features the talents of Jackie Marshall, Bertie Page, Sahara Beck, Emma Bosworth, Roz Pappalardo, Lydia Fairhall, Leah Flanagan, and Kristy Apps. Miss Murphy will be a special guest performer at the Sydney show.

The Soldier’s Wife will play Canberra Street Theatre on August 6 followed by Sydney Opera House on August 7. If you can’t get along, or you simply want to relive the show, a full-length album featuring the songs will be released later this year. Proceeds from the album’s sale will benefit Legacy and the Partners of Veterans Association of Australia.

Image used with permission from SCG Media

Posted on by Lauren Katulka

Mary Poppins at the Capitol Theatre, Sydney

It’s a strange thing to sit in a venue and not feel part of the experience. Others around you are likely swept up in what’s presented, yet you feel a disconnect. It’s happened to me a few times at concerts, when the young girls squealed in raptures and I felt underwhelmed. And I felt it again when I saw Mary Poppins live on Friday night.

The moment it really hit home was somewhere in the middle of the extended, or drawn out, version of “Supercalifragilisticexpialidocious.” It seemed to go on and on and it seemed everyone in the theatre was singing that infernal chorus over and over again, clapping their hands in time. And I thought “Well this is all a bit silly, isn’t it?”

To be fair, I wasn’t a great fan of the Disney movie. I saw it as I saw many others of the vintage, but didn’t rewatch it tirelessly the way I did Bedknobs and Broomsticks. I decided to go see the stage production though as everyone had raved about it, and my parents and husband were keen. And besides, I had never met a musical I didn’t like. Famous last words.

Mary Poppins wasn’t all bad. Verity Hunt-Ballard had the presence and poise to pull off the role of the imposing but kind-hearted titular nanny. Phillip Quast’s Mr Banks had just the right amount of bluster. The children were quite lovely, not at all as cloying as child performers tend to be. I wasn’t entirely convinced by Matt Lee’s Bert, but boy that man can dance.

And as a spectacle, Mary Poppins certainly exceeded my expectations. I’ve never seen set design like it, with the Banks house folding up and down and every which way to take us into the rooms and up to its roof, with the lights of London twinkling all around. And no one could fail to be impressed as Mary Poppins flew off into the night. The only problem was, when she did it at the end of the first half I didn’t particularly want her to return.

Where Mary Poppins missed the mark for me was heart. I couldn’t help thinking back to seeing Hairspray a few weeks prior, and the way I felt so invested in it. It wasn’t as glittery, but it seemed to have more soul. At so many points in Mary Poppins I felt detached, uninspired, and frankly a bit bored. I just couldn’t get swept up in it all. Clearly I’m one of the few that feel this way. The countless Helpmann Awards, glowing reviews, and comments of my own family members tell a different story. I guess it just goes to show that you really can’t please all of the people all of the time.

Image source: Newtown Graffiti @ Flickr