Tag: The Art House

Posted on by Lauren Katulka

Macy Gray @ The Art House, Darkinjung Country/Wyong – 10 July 2024

Cast your mind back to 1999. The video that played at the start of last night’s concert made it easy for me, but I’ll give you a refresher. “Mambo No. 5” was Australia’s highest charting single. Cher was on the comeback trail with “Believe.” A young starlet called Britney Spears made a splash with “Hit Me Baby One More Time.” And we were introduced to Macy Gray, thanks to her smash debut On How Life Is.

While that footage took us on a trip down memory lane, it didn’t quite capture what made listening to music in 1999 so special. Radio and television programs like Rage and Video Hits were a springboard for discovering albums. Once you’d buy one, it would live in your stereo until your next purchase. We didn’t have Limewire yet, let alone Spotify, so you’d immerse yourself in a record for much longer before moving on to the next. I hadn’t picked up On How Life Is for years, but when I revisited it a couple of months ago I found I still knew every word. After a quick refresher, I was pumped for Macy’s show at the Art House in Wyong.

I’ve got to say, what a thrill it was to see an international artist of her calibre at our intimate local theatre. It holds just 500 people; there are no bad seats. It’s a special place where you feel like you can make a real connection with the performer and their fans. I can only hope Macy’s appearance paves the way for more massive acts so close to home.

Macy was here to celebrate the 25th birthday of On How Life Is, which she played virtually front to back in the first part of the show. Of course she’d leave us waiting for her monster smash “I Try,” and the album’s final track “The Letter” was such a natural closer that would need to wait too. But otherwise the nostalgic tracks flowed easily from one to the next. Macy stopped briefly to introduce us to her incredible band, and invite us to yell our own names so she could get to know us too. There was an off-the-wall story about meeting a koala on the streets of Wyong, who promptly jumped for her when he heard she hoped to meet a kangaroo. It was weird and wonderful, and totally Macy.

I’d be remiss if I pretended that it was a perfectly executed show. Without any backing singers, moments exposed weaknesses in her vocals, especially the stripped-back ballad “Still”. But Macy’s vocals have never been flawless. They’re richly textured, and while some parts may be a little weaker than they once were other parts of her voice left me speechless. Every song she delivered with such heart and conviction and joy that it was difficult to fault even the imperfections.

I knew Macy planned to sing songs from On How Life Is early in the show, but I was intrigued by how she’d fill the back end. As she launched into the jazz standard “Sunny,” I knew we were in for some surprises. I strapped myself in and enjoyed the ride. Her unexpected cover of Radiohead’s “Creep” was a delight. Her bandmates had a time to shine with a drum solo and a 90s-inspired DJ set which gave Macy time to change from one fabulous outfit to the next. She told us that tonight would be a “fuck everything” night and encouraged us to forget about the rules and what other people might think of us before urging us to our feet for “Sexual Revolution.” I, for one, took her words to heart. I’m not sure I’ve ever felt more free.

Listening to the cries of “Finally” when Macy played “I Try,” I’d wager a few people bought tickets on the strength of that song. I personally can’t imagine seeing a show for one song, but tracks with that kind of power and potency so many years after their release are rare. It’s a special song, and while I’d heard many favourites that night, I loved being a part of the sing-along that clearly touched Macy’s heart.

I thought she’d move straight on to “The Letter” and we’d be done, but Macy had other ideas. While the night traded heavily on nostalgia, Macy was proud to show us she’s still got some fresh tunes. She played us a little of her latest single “I Am”, then taught us vocal parts and dance moves before leading us in a somewhat chaotic (our fault!) but fabulously fun version. The song is so catchy I heard people singing it as we left the theatre! Macy sent us on our way with “The Letter”, the final track from her landmark debut, such a feel-good ending for an excellent night out. It ensured I wasn’t left wanting in this show that was 25 years in the making for me. Macy was everything I hoped for: a magnificent, colourful (in every sense of the word), talented delight. I am so glad I finally got the chance to see her in all her glory.

Macy has just a few more dates left on her Australian tour. Catch her anywhere you can:

11 July 2024 – The Playhouse, Ngambri/Canberra
12 July 2024 – Anita’s Theatre, Woolyungah/Wollongong
13 July 2024 – Enmore Theatre, Eora/Sydney

Images: own photos

Posted on by Lauren Katulka

Human Nature @ The Art House, Wyong – 4 June 2022

I think most teenage girls need a boy band in their life. A bunch of good-looking, nice guys creating fun songs that can alleviate some of the angst that inevitably comes with that period. If they’re talented, well that’s a bonus. I like to think I had discerning taste even back then because my boy band of choice was truly talented. While many of my peers were swooning over Backstreet Boys, Take That, and East 17, I was mad for Human Nature. I moved on as so many of us do as we age, but with the fabulous foursome promising a night of greatest hits on the Central Coast, I couldn’t resist taking a trip down memory lane last weekend.

I must admit, as Human Nature began their signature acapella rendition of Curtis Mayfield’s “People Get Ready” I was transported back. I was sitting next to my husband now, but my heart still skipped a beat marvelling at these men who had meant so much to me as a teenager. This was a night when we revelled in nostalgia. Andrew, Mike, Toby, and Phil took turns sharing stories of their journey from the 4 Trax singing at local RSLs to the Las Vegas strip. Their jokes were cornier than I remembered, but the songs still stack up. “Whisper Your Name”, “Wishes”, “Don’t Cry”, “Last to Know” … the hits that had me lining up at countless shopping centre instores kept coming.

Motown has dominated the last few Human Nature shows I’ve seen, so to enjoy a set that celebrated the original music I loved most was thrilling. Back in the day, the sections of Human Nature shows where they stripped the songs back were always my favourites, so I was in raptures to see so many songs get that treatment. Acoustic versions were balanced by big danceable numbers. And in case you’re wondering, these guys still have the moves to match. I found myself squealing as they ripped off their jackets to reveal rippling biceps while performing the dance steps I still know by heart. Sorry, husband.

The night leaned heavily on those nostalgic originals, but after intermission they proved they’re still much more than a covers band. A string of new originals, sadly ignored by radio but every bit as good as their early hits reminded me I really need to dig into their new music. They’ve still got those songwriting chops.

However, as we all know it was covers that gave Human Nature’s careers a shot in the arm and took them to the Las Vegas strip. While it’s incredibly popular, I must admit that I’ve never been a big fan of their Motown material. I always felt there was just a little more heart when they were performing their own songs. However, in a show like this, we got the best of those soul covers. I also can’t deny the power these songs have on the audience. The aisles were filled with people dancing.

This was a night for the fans, whether you were there screaming along at the shopping centre instores or you jumped on the Motown train. Human Nature evoked memories and reminded us all that 30 years on, they’ve still got it. Human Nature have plenty of local shows before Mike, Andrew, and Toby return to the US. If you’ve ever been a fan, you don’t want to miss this:

11 June 2022 – Royal Theatre, Canberra
14 June 2022 – Queensland Performing Arts Centre (QPAC), Brisbane
15 June 2022 – Queensland Performing Arts Centre (QPAC), Brisbane
16 June 2022 – The Events Centre, Caloundra
17 June 2022 – The Events Centre, Caloundra
18 June 2022 – Brolga Theatre and Convention Centre, Maryborough
21 June 2022 – Shoalhaven Entertainment Centre, Nowra
22 June 2022 – WIN Sports & Entertainment Centres, Wollongong
24 June 2022 – Blue Mountains Theatre and Community Hub, Springwood
25 June 2022 – Blue Mountains Theatre and Community Hub, Springwood
26 June 2022 – Blue Mountains Theatre and Community Hub, Springwood
28 June 2022 – Wagga Wagga Civic Theatre, Wagga Wagga
29 June 2022 – Wagga Wagga Civic Theatre, Wagga Wagga
30 June 2022 – Griffith Regional Theatre, Griffith
1 July 2022 – Griffith Regional Theatre, Griffith
2 July 2022 – Albury Entertainment Centre, Albury
3 July 2022 – Albury Entertainment Centre, Albury
8 July 2022 – Twin Towns Services Club, Tweed Heads
9 July 2022 – Twin Towns Services Club, Tweed Heads
21 July 2022 – Glasshouse, Port Macquarie
22 July 2022 – Civic Theatre, Newcastle
23 July 2022 – The Star Event Centre, Sydney
24 July 2022 – The Star Event Centre, Sydney
26 July 2022 – Albany Entertainment Centre, Albany
27 July 2022 – Bunbury Regional Entertainment Centre, Bunbury
28 July 2022 – Mandurah Performing Arts Centre, Mandurah
29 July 2022 – Crown Theatre, Perth
30 July 2022 – Crown Theatre, Perth

Image source: own photos

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

Anthony Callea @ The Art House, Wyong – 11 October 2019

I still have moments where I feel like pinching myself when I see shows at the Art House. I’ve travelled to Sydney several times to catch Anthony Callea, so it was a real treat to have him make the journey to the Central Coast this time around.

The show lived up its Unplugged and Unfiltered. Perhaps it was a little too unfiltered for the ears of my 12-year-old niece, although if you’d ask her those racy anecdotes made the night more fun. The stories came thick and fast, as did the songs stripped back and laid bare. Anthony’s voice is always in fine form, but without a full band to hide any flaws it was even more impressive. If you don’t get goose bumps listening to him deliver “The Prayer” I’d check for a pulse. He may have outdiva-ed Whitney with his mash-up of “I Wanna Dance With Somebody” and “How Will I Know?” It was also a real thrill for the long-time fans to hear earlier material like “Rain” and “Addicted to You” in the set. I also loved seeing him so connected to his new single “What’s Wrong With Me?”

Anthony seemed to be having a ball on stage, appreciating the unfiltered format perhaps a little too much. The anecdotes may have dragged a little for punters there simply for the music, but I felt the laughs beautifully balanced the very emotional songs that made up the bulk of Anthony’s set. Perhaps the Art House should have posted a sign about sexual references and coarse language at the theatre doors, as they did for Hair though!

Even though those stories made my mum serving grandma duties blush, it all added up to such a fun night, a fitting introduction to the world of live music for my young niece. Even if she has learned a few things we didn’t expect!

Image source: own photo

Posted on by Lauren Katulka

Dami Im @ The Art House, Wyong – 6 September 2019

Since opening just three years ago, The Art House has attracted a steady stream of talent to the Central Coast and the region is much better for it. I might not have ventured out on a stormy, windy Friday night if I had to travel all the way to Newcastle or Sydney for entertainment, but knowing this modern venue was just a short trip up the freeway inspired me to shake off my fatigue and chill and see Dami Im live.

I even arrived early enough for the support act, Brittany Maggs. The theatre’s “no photos” policy means I don’t have a shot, so you’ll just have to take my word for it. She has all the makings of the next pop princess, flawless good looks and a delicate but pitch-perfect voice. With her guitarist H playing over a backing track, the performance felt a smidge karaoke but her catchy songs are strong. Even the oldies keeping company with me in the theatre box said they were impressed, even though they clearly weren’t the intended demographic of Brittany’s upbeat tunes.

Dami was the one we were all there to see though. She arrived looking every inch the superstar with a sparkly jumpsuit and flaming red hair. Then she opens her mouth and nothing else matters. Her voice is undeniable, just as clear and strong as it is on records and her TV stints. There’s no trickery here; what you see is what you get with Dami. And that’s a large part of her charm.

Dami might have been in the public eye for five years now, but she’s retained the quiet humbleness that endeared her to X Factor audiences. She takes time to ask the audience if she can play new songs and seems genuinely shocked when they are well received. She’s so thankful of the support of her fans that she promises souvenir towels to anyone who shows her they’ve pre-ordered her amazing new single, “Crying Underwater.” She encourages us to break that no photos policy and whip out our phones for selfies during one song. She joins us too, wanting to capture her appreciative audience as much as they want to take photos of her.

Dami has evolved greatly as an artist since she took the X Factor title. She released the prerequisite pop material early in her career, but that has given way in recent years to jazzy tunes and introspective piano ballads. The different ends of her catalogue don’t always marry naturally. However, I appreciate that she wants to cater for those fans who have supported her from the beginning, even as her musical journey takes her in new directions.

Dami Im’s Dreamer tour continues winding its way around regional Australia for the next couple of months. Limited tickets are still available for the following shows.

27 September 2019 – The Palms at Crown Melbourne, Southbank
28 September 2019 – Wendouree Centre for Performing Arts, Wendouree
4 October 2019 – Lighthouse Theatre, Warrnambool
5 October 2019 – Horsham Town Hall, Horsham
6 October 2019 – Capital Theatre, Bendigo
19 October 2019 – The Tivoli, Brisbane
24 October 2019 – The Metro, Sydney
25 October 2019 – Nelson Bay Diggers, Nelson Bay
26 October 2019 – Belmont 16s, Belmont
14 November 2019 – Albany Entertainment Centre, Albany
15 November 2019 – Mandurah Performing Arts Centre, Mandurah
16 November 2019 – Astor, Perth

Image source: own photo

Posted on by Lauren Katulka

The Whitlams @ The Art House, Wyong – 7 February 2019

The Art House has been a welcome addition to the Central Coast’s cultural landscape. It’s a modern, intimate theatre overseen by a team booking such fantastic acts. We’re barely a week into February and I’ve already seen a musical, stand up comedy, and now live music there this year. I also have tickets to another three shows. It’s hard to resist when they’re a short, relatively traffic-free drive away. Last night the venue played host to one of Australia’s most enduring bands and one of the most exciting up-and-comers.

William Crighton warmed up the crowds with songs from his critically acclaimed sophomore album Empire and some tracks from the vault. What a unique talent he is. His rich, resonant voice draws you in from the start. His songs are just as compelling, whether he’s singing about young boys exacting revenge on paedophile priests or a sweet moment of peace watching children at play. With just the sound of an acoustic guitar keeping his voice company, and sometimes not even that, it was easy to hone in on the lyrics and hear those stories. His witty, unassuming banter between songs put us all on side. We might have been pumped for The Whitlams, but I don’t think anyone was clock-watching while William was on stage. We were hushed and attentive, until William encouraged us to sing along. We did so with the kind of enthusiasm usually reserved for the headliners.

The energy in the room went to the next level when The Whitlams joined us though. They started with high-energy crowd-pleasers “I Will Not Go Quietly and “Gough.” The exciting thing about seeing The Whitlams though is you’re never quite sure where the show will take you. They have 27 years of high-quality material at their disposal, and no song is off limits. While they tick off the major singles this isn’t a band that wants to stay necessarily with what we expect to hear. And we lap that up, belting out those upbeat numbers, falling quiet lest we miss a moment of the more introspective ones.

The show was peppered with witty banter, with Tim sharing his appreciation of our brand new theatre, his views on Sydney, and what it was really like performing at the Australian of the Year awards. As chief songwriter and vocalist, Tim tends to get more of the attention, but I found myself admiring just how good this band is as a whole. I’ve always loved The Whitlams, but there were so many times as I watched them feeding off one another, so in the moment, creating an incredible sound, that I just thought “Wow, this is special.” By the time they shuffled off after their encore of Dylan’s “Tangled Up in Blue,” my hands were sore from enthusiastic applause.

Last night the Art House turned on an amazing night of music that had me marvelling, not for the first time, how lucky I am to experience shows like this so close to home.

Image source: own photos

Posted on by Lauren Katulka

In the Heights @ The Art House, Wyong – 11 January 2019

Living on the Central Coast, seeing a great musical typically means taking the train to Sydney. We’ve got our community theatre groups, and the occasional small play from a larger company stops by, but when you want to see the big guns from Broadway the options are typically lacking. However, an unexpected partnership between Sydney Opera House and The Art House in Wyong saw the Tony Award-winning Lin musical In the Heights playing a tiny venue in my local area before it travelled to the big stage.

I must admit, I didn’t know a lot about In the Heights before I shuffled into The Art House. I knew it had taken home a swag of Tonys and Lin-Manual Miranda wrote it. Frankly, these were the only selling points I needed. There’s something nice about approaching a production without any expectations. It’s been some time since I’ve done that. I knew much about the lives of Carole King and Bobby Darin before catching Beautiful and Dream Lover. I was familiar with some of the music from Book of Mormon. I knew the characters from Wicked and the basic premise. Here I was flying blind, and it was glorious. However, since I wasn’t so familiar I had to fight a little harder to catch the lyrics in the fast-paced songs. The Art House really needed to fine-tune the sound, as sometimes the music seemed to dominate the vocals.

And that is where my criticism begins and ends. Because aside from that little niggle, this production was flawless. I was mesmerised by it, quickly taking the characters to heart and marvelling at the actors’ dance skills and vocal prowess. This is an exceptional cast, one where even the members of the chorus can floor you. I would like to make special mention of Luisa Scrofani as Nina, Stevie Lopez as Usnavi, and Alexander Palacio as Kevin though. These three performers were particularly dazzling, playing their parts so well that I can’t imagine any of the Broadway pros could top them.

I was on the edge of my seat for the entire production. The bright lights at intermission were an unwelcome interruption. I couldn’t wait to immerse myself in the Washington Heights neighbourhood again. By the time the musical reached its heartbreaking climax, I was wiping back tears. I laughed, I cried, and most importantly I felt. This production of In the Heights was truly one of the greatest things I’ve witnessed on stage. It plays Sydney Opera House on January 16 to 20. Sydneysiders, get yourself a ticket. I guarantee you won’t regret it.