Reviews

Flat Earthers: The Musical

Book and Lyrics by Jean Tong & Lou Wall. Song Writing by Lou Wall and James Gales. Hayes Theatre and Griffin Theatre. Directed by Declan Greene. Musical Director Jude Perl. Choreography by Fetu Taku. October 17 - November 9, 2024

This just might be the most technically brilliant musical staged at the Hayes, which already has a long history of cleverly shoe-horning productions into its cosy venue.

Entering the theatre the audience is greeted by the simplicity of two rainbow-like arches and suspended cords, faced by a formidable row of digital lighting fixtures.

The Summer of the Seventeenth Doll

By Ray Lawler. Hobart Repertory Theatre Society. Robert Jarman (Direction). Karen Fahey (Costumes). The Playhouse Theatre. 16-26, Ocotber2024

The Summer of the Seventeeth Doll is a truly great play. This production, the first since the recent death of Ray Lawler aged 93, never allows the audience to forget that fact. Dominating the stage, a large photograph of Lawler is suspended.

Robert Jarman has eschewed the standard box set. Whilst beautifully dressed, the stage blacks frame the action like the dusty swags of a studio portrait. There is a piano and a table and the clutter of seventeen years, but none of it is as real as Olive would like to think it is.

Feared and Revered – The Women of Shakespeare

Adapted and directed by Tui Clark. The Genesian Theatre Company – Kent St, Sydney. Oct 17 – 26, 2024

Our foray into the city on this occasion was to see a very interesting offering by Genesian member Tui Clark directing a “mash up” of some of the best female dialogue and characterizations Shakespeare had the foresight to create. Clark uses Shakespeare’s Complete Works 2nd Edition as the basis for her adaption.

Champions

By Isabella McDermott. Produced by Little Goat Arts and Entertainment, at the Old Fitz Theatre, Sydney. Directed by Bali Padda. 11 – 26 October, 2024

It’s a tough test if you want to win the $50,000 Archer Award. First you’ve got to be one of the four chosen active participants, then you’ve got to be declared the winner after a further 6 months working in adjoining rooms. But the prize is big enough to draw many in, and the four presented by writer Isabella McDermott are each determined to be champion. After briefly toying with the idea of sharing the prize, they decide to fight it out - and may the best man/woman win.

Eucalyptus: The Opera

Composed by Jonathan Mills, libretto by Meredith Oakes, based on the novel by Murray Bail. Directed by Michael Gow. Conducted by Tahu Matheson. Presented by Victorian Opera and Opera Australia. Palais Theatre, Lower Esplanade, St. Kilda. 16-19 October 2024.

The 1998 novel captures many traditional Australian storytelling themes: the harshness of life in the outback and the unique nature of the Australian landscape. This is particularly explored through the very thorough taxonomy of the various species of the native Australian trees and the somewhat tragic relationship between Ellen (Desiree Frahn) and her father, Holland (Simon Meadows). Transforming this story into an opera is especially apt in conveying the inherent tragic nature of this story and the music especially emphasises this aspect.

Fuccbois: Live in Concert

Book, Music and Lyrics by Bridie Connell. Produced by Long Con, at the Old Fitz Theatre, Sydney. Directed by Jessica Fallico. 11 – 26 October, 2024

Fuccbois: replace the second ‘c’ with a ‘k’ (and the ‘i’ with a ‘y’), and you’re up to speed with this amazing all-female musical appearing in the New Works Festival at the Old Fitz Theatre in Sydney. The quality and quantity of the songs by Bridie Connell make this an exceptional piece of work and the 4-person Fuccbois group itself is nothing short of a miracle of sound and movement.

A Love Letter to the Nightingale

By Elham Eshragian-Haakansson and Cara Flame. Directed by Elham Eshragian-Haakansson. The Studio, The Blue Room Theatre. Oct 8-26, 2024

Presented by the Blue Room and Elham Eshragian-Haakansson, A Love Letter to the Nightingale is a multi-media experience combining projections, film and live theatre to explore Persian mythology.

Presented on a transverse stage in the compact studio area, the audience are very close to the action. The film portion is presented on a circular screen (great impact) suspended between the two audience areas, meaning that they see mirror images of anything projected - consequently, anything written is presented twice.

Kiss Me, Kate

Music and lyrics by Cole Porter. Book by Sam and Bella Spewack. The Regals Musical Society. Rockdale Town Hall. October 12 to 20, 2024.

A Shakespearean operetta, a hot jazz dance number, a fiery celebrity couple and off-beat underworld fun are currently colliding on the Rockdale Town Hall stage.

Bursting onto the stage in a vibrant, high energy opening ensemble number, “Another Op’nin’, Another Show” - Cole Porter’s song and dance valentine to theatre - The Regals production of Kiss Me, Kate captivates from the outset.

How could you top that opening?

Sounds Like an Orchestra

Queensland Symphony Orchestra (QSO), presented in association with Queensland Performing Arts Centre (QPAC), Brisbane. Concert Hall, QPAC. 11 October 2024

This family concert by the QSO asks young audiences to hear the difference between instruments, and to witness the magic that music can make in their imaginative landscapes. World-renowned and award-winning Scottish composer, educator and presenter, Paul Rissmann, guides the audience to appreciate the power of the orchestra, with the help of vocalist Ashleigh Denning (also an educator). The conductor is Jen Winley, a percussionist, teacher, and conductor of the WA Youth Orchestra.

Singin’ in the Rain

Screenplay by Betty Comden and Adolf Green. Songs by Nacio Herb Brown and Arthur Freed. Willoughby Theatre Company. Director: Declan Moore. The Concourse Chatswood. 12-27 October, 2024

Willoughby Theatre Company has done it again! This production has real class. Declan Moore, with his cast and crew, has captured the gentle charm and tapping pace that has made Singin’ in the Rain so loved since Gene Kelly, Donald O’Connor, Debbie Reynolds and Jean Hagen made it such a hit in 1952.

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