Reviews

Despite (or perhaps because of) one of the finest casts ever assembled, this production of Cabaret, a stalwart and favourite of Musical Theatre everywhere, tantalisingly holds out the promise of brilliance, only to snatch it away at the last minute. That’s not to say it isn’t good – it is in part – but it never seems to gel, to find a cohesive creative vision.

It’s nearly 100 years since the end of “The Great War” and here in Australia we have just celebrated our annual remembrance of the sons and daughters who made the ultimate sacrifice for “King and Country”.

Private Peaceful at The Bakehouse is an ironically-named telling of one young British soldier’s story. It moves from childhood to growing up on a farm, then to the trenches of Belgium and the battle of Ypres.

This was a polished production of the world’s most popular opera. I’ve seen innumerable productions over the years, and this was one of the best.

The set was impressive; a dirty town square with roller doors for entrances to the cigarette factory and other areas. The set remained for the whole opera and worked very well. A Combi Van was driven on to become a pop-up café for act 2, the smuggler’s lair became a warehouse in act 3 and the town square was outside the arena for the bull fight in act 4. Very clever.

This bright, fast-moving production is another accomplishment from Supa. With direction that makes the most of the set (designed by Chris Zuber and Nick Valois) and tight musical direction from a band of six (musical direction by Elizabeth Alford), the audience is drawn into the streetscape of Avenue Q and its human and monster residents. This is not Sesame Street by any means, discussing sex, racism, political correctness, apathy and the difficulties of adult life.