Tag: Barry Mitchell


Ambitious take on audacious musical

By Bradley Storer

Spring Awakening, the rock musical which first revolutionized the modern conception of musical theatre over ten years ago on Broadway, is a strange beast – the text derived from Frank Wedekind’s controversial late-ninteenth-century play, combined with contemporary rock/pop/folk songs composed by Duncan Sheik and Steven Sater that are specifically designed to stand apart from and explore the action of the plot rather than to advance it as in traditional music theatre. Resolving this division between the music and text requires strong direction and a conceptual framework that can bridge these two elements.

Spring Awakening.jpg

Director Robbie Carmellotti has made big and bold offers with this production, and I thoroughly respect and applaud his efforts in exploring new pathways to interpret a modern classic. However, elements of this production did not fully succeed: the decision to have characters play their own instruments at different points (which all but vanished by the second act) didn’t add anything in particular to the meaning or understanding of the show – the central conceit of nineteenth-century German school children morphing into teen rock stars is already so strong on its own that it doesn’t need this addition. The appearance of handheld microphones as part of this overall metaphor, while an inherent part of this show, becomes overused in this production and feels forced into several unnecessary moments. The decision to have the cast speak their dialogue in German accents and to sing in American accents, which again I appreciate as an attempt to underline the distance between the characters and their inner ‘rock stars’, is unfortunately undermined by a lack of consistent accents across the entire cast. And finally, the re-orchestration of Sheik’s music at certain points deadened the impact of this vital and pulse-raising score, the loss of electric guitar in ‘The Bitch of Living’ turning the number into a country-fied hoedown that lacks the energy and guts of the original.

Brent Trotter is wonderful as Moritz, the anxiety-riddled schoolboy who befalls a terrible fate, managing the character’s difficult journey with great emotion and a gorgeous contemporary voice. As Wendla, Jessie-Lou Yates works hard and tirelessly throughout, but feels slightly miscast in reading as too old to be a young girl undergoing puberty. Ashley Roussety as Melchoir, the closest the show has to a central character, has the opposite problem – he looks perfectly cast as the charismatic and fiercely intelligent protagonist and delivers a credible performance in the first act, and is particularly impressive in Zoee Marsh’s choreography for ‘The Mirror-Blue Night’. However, in the second act he begins to feel a little lost in the role as the story races to climax, losing the emotional impact of the tragic but hopeful conclusion.

The supporting cast, in contrast, are uniformly excellent. Henry Brett steals the entire show as the effete Hanschen, drawing raucous laughter in his two big scenes. Luisa Scrofani impressively shreds the bass guitar as she emotionally tears into the bleakness of ‘The Dark I Know Well’. Grace Browne shines as Thea, and Alice Batt plays both violin and the role of Anna beautifully. Olivia Solomons manages to effectively differentiate every one of her multitude of female adult characters, but sadly Barry Mitchell as her opposite is less successful as parts blur together with similar vocal tone and physicality. The entire ensemble offer up heart-touching loveliness in the complex choreography and choral harmonies of ‘Touch Me’, one of the production’s stronger moments, and showcasing some stunning riffing from Jordan Mahar as Georg.

While this production may have its problems, StageArt should be commended for their commitment to offering contemporary and challenging musicals, and the entire creative team and cast congratulated for attempting a new approach to this much-loved and ground-breaking piece.

Dates: 19 May -10 June

Venue: Chapel off Chapel, 12 Little Chapel St, Prahran.

Times: Wed – Sun 7:30pm, Matinee Sat & Sun 1.30pm, Sun 21st May 4pm

Prices: $49 – $79

Bookings: chapeloffchapel.com.au, (03) 8290 7000, at the venue box office.

REVIEW: Hoy Polloy Presents THE SEAFARER

Award-winning play a tough sell

By Margaret Wieringa

Sharky has returned to his blind, alcoholic older brother Richard just before Christmas. For a change, Sharky is not drinking. On Christmas Eve, they have several visitors and a card game takes place, with only Sharky aware of just how high the stakes truly are.

The Seafarer - Photo Credit Fred Kroh

fortyfive downstairs was an excellent space to house Richard’s lounge room, the only set of the performance. The wind gushing down the laneway and the old floorboards added ambience to that created by the old furniture and dim walls (although so many of Guinness and other Irish brand alcohol posters seemed unnecessary to set the scene).

Overall, the play dragged. The script by Conor McPherson has been nominated for a variety of awards including the Laurence Olivier and several Tony awards, but it felt very long and repetitive and, at times, boring. There were several times when it was necessary to get Sharky and Mr Lockhart alone, but the way the other characters were removed from the scene was clumsy and obvious.

It is a script with a lot of dialogue, which can run the risk of losing crucial dramatic silences. There were some attempts to create these moments, most notably from Sharky, whose near silence in the second act is a big change from his verbosity in the first, but it seemed far too contrived. And somehow in all of these weighty moments, the heavy truths that are to be revealed are lost, and the emotional lows were unclear.

The mismatched ages did create some confusion as to why these five people were in a room together at all, but despite the terrible drunken staggering, the somewhat average Irish accents and a rude audience with phones ringing several times (even during crucial scenes), each of the five actors had moments that worked really well in the performance. As Ivan, Adam Rafferty had a few lovely incidents of storytelling portraying a character who can wax lyrical and dig himself into the odd hole. Mr Lockhart, played by Michael Cahill, gave an excellent description of the hell that a man can feel, while David Passmore captured the jovial edginess of Nicky, and Geoff Hickey and Barry Mitchell were able to show the challenges of a strained relationship between brothers with much regret and pain in their history.

Venue: fortyfive downstairs, 45 Flinders Lane, Melbourne
Season: 30 July – August 10
Tickets: $33-$38
Bookings: 9662 9966 or http://www.fortyfivedownstairs.com/buy-tickets/?event=seafarer