As Sandy, Taya Orchard seemed right at home and Danny, played by Lachlan Copeland, was a real smooth walker and talker. The Pink Ladies and T-Birds were individually and collectively strong and true to character while the adults tried their best to keep the teenagers in line. The thirty plus members of the chorus worked hard and their routines were full of life. Bright and colourful full skirts, bobby sox and white tees and leather jackets helped to create the era along with the mandatory cigarette packs in their sleeves for the boys and chewing gum and lipstick for the girls Under Paul’s baton the orchestra was well controlled and never overpowered the singing. The set worked well and the technical support was of the usual high standard. Due to popular demand, the season was extended and the packed audience appreciated the effort and commitment of the entire company. Roger McKenzie The Producers By Mel Brooks and Thomas Meehan. Cairns Choral Society. Director: Wayne Rees. Jan 6 – 21. THE show is an energy-packed performance that brought a fabulous night of Broadway to Cairns. The Producers is about two Broadway theatre producers who deliberately set about producing a flop in order to steal the original investment money. The play they chose to produce is an obscure piece of drivel called Springtime for Hitler, which unexpectedly becomes a big hit. Michael Newman played fast-talking, street-wise Max Bialystock with energy and skill. David Graham, as Max’s bumbling, nervous coproducer, Leo Bloom, was equally as talented. Dale Shultz as Roger DeBris, the director chosen deliberately for his incompetence, had good timing and stage presence and Alanna Rees, as the glamorous Ulla, also gave a strong performance. The many scene changes were deftly executed, while the choreography was all Broadway. Although not blessed with great songs, The Producers did have its musical moments with Michael Newman’s brilliant rendition of the song Betrayed. Director Wayne Rees assembled a talented cast that delivered a highly entertaining, professional production. Ken Cotterill The Wizard of Oz Music: Harold Arlen. Lyrics: E.Y. Harburg. Background Music: Herbert Stothart. Book: Adaption by John Kane based on the original book by L. Frank Baum. Director: Tim O’Connor. Musical Director: Maitlohn John. Choreography: Callum Mansfield. Harvest Rain. Playhouse, QPAC. Feb 9 – 19. HARVEST Rain’s new production of The Wizard of Oz is the most enjoyable version of the story I have ever seen on stage. It’s bright, zippy and has a freshness that belies the age of the material. Dana Musil was a believable Dorothy and sang the role’s signature tune “Over the Rainbow” well, despite a little too much ‘pop’ inflection. Shaun 72 Stage Whispers
Kohlman (Scarecrow), Dan Venz (Tinman) and Matty Johnston (Lion) made an appealing trio of misfits who delineated their characters with an ‘aw shucks” charm and sang and danced with style. Angela Harding, with the best voice in the show, was a glittering Glinda, the good Witch, and Penny Farrow as her counterpart, the Wicked Witch of the West, was deliciously vile and horrible. Steven Tandy, always good value, had a grand time as the Professor and the Wizard, and Grant Couchman and Kathryn Dunstan were spot on with Uncle Henry and Aunt Em. Top marks also to the Munchkins, who were a delight. Their “Ding Dong the Witch is Dead” was one of the highlights. Josh McIntosh’s set and costume designs were imaginative and grand (except for the opening scene, which looked like amateur-ville in Kansas) and Callum Mansfield’s dance routines were executed with snap. Maitlohn John’s 18-piece orchestra sounded as it was, big! Tim O’Connor has proved time and time again that he can handle a big cast and keep a show moving. He was on top of his game with this one. The Wizard of Oz is without doubt the best Harvest Rain production in recent times. Peter Pinne Falsettos By William Finn. Director: John Milson. Old Mill Theatre, South Perth (WA). Feb 3-18. I MUST confess that this is not one of my favourite musicals. While William Finn has created some captivating music and lyrics, the story, while once groundbreaking, has dated quickly and lacks both punch and humour for a modern audience. Having said that, I was glad that I attended Old Mill's production. Most of the performances are simply stunning. It is very rare to be able to assemble a cast of this caliber and they worked beautifully together. Matthew Kiely sang well in the difficult central role of Marvin. Real life fiancé Sharon Wisniewski played Trina, his estranged wife, and was an absolute stand-out, with her rendition of I'm Breaking Down being a show-stopper. Marvin's lover Whizzer was sensitively portrayed by Tyler Jones, whose performance was excellent throughout. It was interesting to see David Bowyer, who is perhaps best known for much darker roles, playing the highly-strung Mendel. Carolyn Latter and Breeahn Jones brought charm to the 'lesbians from next door’. Holding his own among formidable talent was Year Seven student Welland Joyce, in his first major role in community theatre, bringing genuine humanity to the role of Jason. The set, a product of The Brothers Carr, was simple and generally well used, with the red couch being a prominent and interesting prop. Costumes (un-credited), were true to the period and well selected for each character. Lighting was sensitive and unobtrusive, while sound was well balanced. Falsettos was one of the first musicals of the year, but one that I expect will be fondly recalled for performance nominations at the year's end. Kimberley Shaw
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