Musical Theatre Gala

The ever-popular local host and conductor Guy Noble was again at the helm for this year's selection of musical theatre gems with the QSO in full flood not only as themselves but also as accompanists for the four guest vocalists. With twenty three items, including two overtures from successful musicals,

Guys and Dolls and Beauty and the Beast, some lesser known but choice selections, this was indeed an afternoon of fun, frivolity and pathos and undoubtedly a crowd-pleaser for those lovers of musical theatre. It also included an hilarious introduction by one the orchestra members inciting rumours that previous concerts had had no plot; and so, during rehearsals where, he said, he had not even a semi-quaver to play on his cello, he decided to write a plot, using the chosen itinerary as a guide, and share it with the audience. If performed with a script, it probably would have upstaged the famous/infamous popular show for thespians The Producers, with its humorous attempt to guarantee failure instead of success. It certainly had the audience in stitches!

The guest vocalists were Hamilton cast member Martha Berhane (the perfect choice to sing 'Colours of the Wind' from Pocahontas, amongst other items); well-known and robust tenor Daniel Belle; QCM graduate, with adept and soaring timbres, Jonathan Hickey; and the experienced and dynamic Ashleigh Denning who brought enchanting personality to her performances including a most wistful and unique interpretation of 'Send In the Clowns'. Selections from some of the greats of musical theatre composition included Frank Loesser, Leonard Bernstein, Stephen Sondheim, Stephen Schwartz and Alan Menken, amongst others.

A thorn in my side regarding one aspect of the concert, something I've noticed before and wish to pen here, is the use of 'breath' in between musical phrases, even items. Though respected conductor/presenter Guy Noble provides personality in his presentation, I sometimes get the feeling he's concerned he might miss the early afternoon or late evening news (depending on the concert) because the distance in time between his words, and even lifting the baton, almost exceeds time itself. This lack of 'breathing' was also noticeable with some of the tempos: at times rather 'exhausting'. For example (myself having played keyboards in the pit for the original Australian tour of Pippin), how the pianist managed to get through the second section of the keyboard part of 'Corner of the Sky' defeats me: the song, one of my favourites, was way too fast, spoiling many of the subtle musical inuendos.

However, with some inspiring, moving and character-driven interpretation from all four guest vocalists, along with the conductor's lovable wit, the concert well-captured the flavour of theatre and it’s always satisfying that these concert versions provide the budget and opportunity to hear musical theatre favourites along with the gusto and colour of a full orchestra; and as it should be heard, where possible.

Brian Adamson