Reviews

The End is High-Concept

Presented by Cackling Jackal. Adelaide Fringe 2021. Ngunyawayiti Theatre at Tandanya National Aboriginal Cultural Institute. Mar 10 – 21, 2021

The setting is a spaceship, the crew and passengers are a disparate collection of lightly sketched characters, and the computer (with more than a nod to Red Dwarf’s Holly) undergoes a personality change following an update. Comedy is delivered through sketches, distinct narratives told as asides from the main story, with video projection helping to set the scene and give us alternative perspectives. Neither the humour nor visuals are particularly successful.

The Producers

Music & Lyrics: Mel Brooks. Book: Mel Brooks and Thomas Meehan. Altitude Theatre production. Director/Choreographer: Joseph Simons. Musical Director: Jacqui Devereux. Brisbane Powerhouse. 4-13 March, 2021

A great cast, whose professionalism shines through every bead and spangle, brings this flashy version of Mel Brooks’ politically incorrect valentine to Broadway of the fifties gloriously to life. With expert direction by director and choreographer Joseph Simons, this whacky paean to the Third Reich bursts with flamboyant performances.

Shaun the Sheep’s Circus Show

By Yaron Lifschitz (based on the TV series by Richard Starzak and Nick Park). Presented by Circa and Aardman. Lyric Theatre, Queensland Performing Arts Centre (QPAC), Brisbane. 6 to 21 March 2021

Much-loved star of Aardman’s animated stable of talent, Shaun the Sheep has had his first world premiere, starring in a new live stage show at the Lyric Theatre, QPAC in Brisbane. Shaun the Sheep’s Circus Show features a clever mix of live action acrobatics and on-screen animation that is sure to please the whole family. Even those who have not seen the TV cartoon or feature films will not feel left out – as the giant on-stage screens are used to introduce the characters and the setting at Mossy Bottom Farm. And then it’s over to Brisbane’s Circa!

Seussical

Music: Stephen Flaherty, Lyrics: Lynn Ahrens. Camden Musical Society inaugural production. Director: Melissa Musgrave, Musical Director: Sally Quinnell, Choreographer: Joy Pennock. Camden Civic Centre. March 5 – 20, 2021.

There’s something special about an opening night that’s not only an opening night but also the opening night of a society’s first-time production. And so it was with Camden Musical Society’s opening night of Seussical. Something of a formal affair, with society president Craig Davidson zhuzhed-up in bow tie and giving a short speech prior to performance, in front of a full audience that included many local councillors.

What Makes a Musical, A Musical

By Joshua Haines, Lachlan Obst, Cassie Skinner and Lorna Mackie. Grey Lantern. Directed by Lorna Mackie. The Studio, Subiaco Arts Centre, WA. March 4-6, 2021

Grey Lantern’s What Makes a Musical, A Musical, was originally scheduled for a Fringe World season, which unfortunately was in the week that we were in Lockdown. Fortunately for Perth’s musical theatre fans, Grey Lantern mounted a short independent season of this impressive World Premiere musical.

Sh*t We Like To Sing

Broken Crayon Productions. Directed by Dylan Dorotich and Charlie Darlington. Connections Night Club, James St, Northbridge WA. Mar 5-6, 2021

Sh*t We Like To Sing might be better titled “Bangers We Like To Sing - and that Audiences Love”. Originally scheduled for a Fringe World season but foiled by Covid restrictions, Sh*t We Like To Sing played for a short, two night, independent season.

A selection of great musical theatre songs, this well curated performance was interspersed with commentary from very personable director/producers Dylan Dorotich and Charlie Darlington. The cast were strong and worked well both as an ensemble and individual performers.

Lorelei

Music: Julian Langdon, Casey Benetto, Gillian Cosgrove. Lyrics: Casey Bennetto, Gillian Cosgriff. Opera Queensland. Director: Sarah Giles. Musical Director: Phoebe Briggs. Concert Hall, QPAC. 6-13 March 2021

After being cancelled last year because of Covid 19, this production of the Lorelei has finally made it to the stage in Brisbane. Billed as an opera/cabaret, this concept of the Lorelei legend was first conceived by Ali McGregor, who is part of this production. McGregor, working with Julian Langdon, Casey Bennetto and Gillian Cosgriff, has taken this tale of the siren who hypnotized men who came under her spell and lured them to their death, opened it up, and given it a 21st century feminist coat of paint.

Les Misérables

By Claude-Michel Schönberg, Alain Boublil, Jean-Marc Natel and Herbert Kretzmer. Additional Material by James Fenton. Based on the novel by Victor Hugo. Noteable Theatre Company. The Concourse Theatre, Chatswood. 4 – 14 March 2021.

Noteable Theatre Company’s revival of their April 2019 production of Les Mis was a fresh, heightened version of the classic musical. It was a nice way to journey back into the theatre post Covid, with some brilliant touches of direction and brave performances along with some slight head-scratching moments that just went too far.

Yes, Prime Minister

Play by Antony Jay and Jonathan Lyn. Centenary Theatre Group. Director: Michael Lawrence. Chelmer Community Centre, Chelmer, Qld. 6-27 March 2021

Yes, Prime Minister is ideal fare for community theatre – familiar characters, farcical situations, and plenty of laughs. Britain is in crisis with spiraling debt, crippling unemployment, and a fragile coalition government. Help is at hand if the Prime Minister will sign a trillion pound bail-out deal with the oil rich Kumranistan, a country that nobody can find on the map.

Six Years Later and BLKDOG

With Botis Seva & Natalia Osipova, presented by Sadler’s Wells. Adelaide Festival 2021. Her Majesty’s Theatre & Middleback Arts Centre, Whyalla Norrie (Livestream). Mar 6, 2021

This Sadler’s Wells double bill is the third of four live-streamed events in the 2021 Adelaide Festival’s ‘Live From Europe’ series with patrons watching the performances on a cinema screen.  The artists are performing live in their own time zone and can see and hear the Adelaide audience as we attend the theatre at night in our zone.  An excellent concept in our unusual, virus-affected present, and a solution that has worked well overall with packed houses and live introductions from our Festival Directors and the artists/producers in Europe.

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