New Blog

I clearly haven't posted anything on here for quite some time now, even though I have seen quite a lot of theatre since then, I suppose I don't have time to sit down and write a full review anymore.

But I have started a new challenge, at abitkeene.tumblr.com

I'm trying to watch all the remaining films on the AFI Top 100 list that I haven't seen (this was 50 films when I started) in 50 days. So far I'm on day 7, and up to film 7

I'm hoping to by the end of it, re-evaluate both the 1997 and 2007 revised Top 100 list and create my own out of the films they have within these lists.

It's been really interesting so far, and hopefully will continue to be, although I'm not looking forward to the 3 or 4 hour epic films that are left on that list (Intolerance, Gone with the Wind and Apocalypse Now are the ones I have so far established)

Anywho, that's where my writing can be found these days

Jersey Boys

So I recently went to see Jersey Boys, after wanting to see it since before it started in Melbourne. It most certainly did not disappoint. As a jukebox musical, I was skeptical as to the quality of the story. I've seen many jukebox musicals where the music is great, but the story just doesn't make the cut (Mamma Mia, We Will Rock You, Return to the Forbidden Planet). Jersey Boys; however, uses the actual story of Frankie Valli and the Four Seasons to progress the narrative. The reason it works so well, is that their story is an incredibly interesting one. Coming from New Jersey, the members of the Four Seasons were in and out of jail, and either had the choice of joining the army, joining the mob or "becoming a star". Despite the interesting background, the story of how the Four Seasons came to become famous is also of interest, as they did not simply become a breakout hit overnight, it took a number of years something that people often forget. However, the music itself also surprises you, as many of their hits you just don't realise were from the Four Seasons.

The Australian Cast of Jersey Boys (from left to right: Stephen Mahy, Bobby Fox, Glaston Toft, Scott Johnson)

In terms of performances, the cast was stunning. Bobby Fox, who plays Frankie Valli, hit Valli's falsetto spot on every time. He also carried the role with a true sense of Valli's background and values. Scott Johnson, who plays the creator of the band Tommy Devito, maintained a true sense of the Jersey accent, and remained a strong force throughout the show. Stephen Mahy played Bob Gaudio, the star songwriter of the group. Gaudio was a young star, co-writing Short Shorts in 1957 when he was just 15. Mahy manages to accurately depict Gaudio's young innocence as the youngest member of the group. Finally, Glaston Toft, as Nick Massi, provides the comic relief throughout the show, with a number of one liners.

Bobby Fox singing Can't Take My Eyes Off You

The music is spectacular. It is truly surprising how many of the songs you recognise, and how enjoyable the songs you don't recognise are. There were a number of songs where the crowd would continue clapping and cheering, despite being in the middle of the show. It was a real experience with all the positive energy coming from the crowd. Personal highlights are of course the Four Seasons hits like Walk Like a Man, Big Girls' Don't Cry, Sherry and December 1963 (Oh What a Night). Another highlight was Beggin, a song that seamlessly tied in with the story line, while also being a strong piece that makes you want to dance.

Technically, the show was beautiful. A giant metallic set changed locations with ease. Three large screens framed the top of the stage with pop art images and shots from the Four Seasons television appearances. The lighting beautifully framed the whole show. Not only did the lighting reflect the emotion of each scene, it also reflected the natural lighting of the scene, making for a realistic yet artistic lighting design. Sound was also beautifully done, with the music perfectly miked to make the appearance of being at a Four Seasons concert, but without bursting your eardrums (I've been to shows where this almost happened) A large cyclorama at the back of the set, combined with a removable chain link fence also added to the emotion and the progression of the story. Not to mention the beautifully 60's costumes. All the characters looked their best in a number of crafted 60's suits. Similarly, the girls were also dressed impeccably. It was like watching a live episode of Mad Men with music.

The whole Cast in the Finale

All in all, it was a great night's entertainment and will leave you singing the songs for days to come.

Jersey's Boys is on at the Princess theatre until 25 July, definitely try and get a ticket if you can.

Here is a taste of the original broadway cast:

Spring Awakening

So last wednesday I popped up to Sydney for a night to see the smash hit Broadway musical "Spring Awakening" performed by the Sydney Theatre Company. Based on the play by Frank Wedekind, which was banned in many countries, due to its sexual content; Spring Awakening follows a group of teenagers living in Germany at the end of the 19th Century. It considers the difficulties that teens faced at this time due to the lack of information about sex and relationships; leadings the characters in the musical to feel isolated, shameful and betrayed.

Andrew Hazzard as Melchior in 'Totally Fucked'

In 1999, writer Steven Sater approached musician and composer Duncan Sheik to collaborate on reinventing Wedekind's play as a musical. The idea to adapt Wedekind's play was partially born out of issues at the time, such as the Columbine shootings, but was stalled after the September 11 attacks. Numerous workshops, stagings and rewrites would occur over a seven year process before arriving on Broadway. Composer Duncan Sheik found that his main problem with musicals was when characters would sing what they could just as easily say. As a result, Sheik decided that the songs would be inner monologues of the characters, allowing the audience to connect with their inner most thoughts and feelings. The show finally opened on December 10, 2006 and went on to win a total of eight tony awards. The version performed by the Sydney theatre company is the first non-replica production of the show in English. This meant that the STC had complete creative control of sets, lighting, costuming, choreography and even direction, making it a uniquely Australian show.

Melchior and the Ensemble in 'Totally Fucked'

With a cast mostly in their early 20's, the raw emotion of being a teenager was not long forgotten amongst these actors. Director Geordie Brookman searched for raw talent, rather than refined performers when casting Spring Awakening and I found that it allowed the show to have a true teen angst about it. This was particularly true for such high energy songs as The Bitch of Living and Totally Fucked; which were highlights of the night.

Andrew Hazzard and Claire Bowden

Spring Awakening mostly follows the stories of three main characters, Moritz Stiefel (played by Akos Armont), Melchior Gabor (played by Andrew Hazzard) and Wendla Bergman (played by Claire Bowden). Moritz, a boy struggling through school while also being tormented by erotic dreams turns to his good friend Melchior, an incredibly intelligent boy who is an atheist and a rebel, having read about sex from books. Wendla; who asks her mother for the truth about how children are born, only being told that a child is born "when a woman really loves her husband", enters into a relationship with Melchior unaware of the possible outcomes. Andrew Hazzard's Melchior held the right combination between intelligence and sex-crazed teen; while Claire Bowden's Wendla was innocent and yet intrigued by Melchior's views of the world. The pair, although perhaps not classically trained vocally, were well suited as it felt more like a teenager expressing their feelings and emotions, rather than a performing demonstrating their singing abilities. Akos Armont's Moritz was enegertic and angry, allowing the audience to truly feel his frustration with school, family and himself.

Akos Armont as Moritz (Centre) and the Boys in 'The Bitch of Living'

Although there was minimal dance throughout the show, the choreography was well suited to the style and feel of the show. Choreographer Kate Champion tried to use dance as an expression of emotion, rather than a literal expression of the lyrics and this worked well in building the emotional climaxes of the show. The ensemble cast was also impressive, with a mix of classically trained performers and first time performers, I was pleasantly surprised at times when a somewhat unseen character shone through in a brief solo. It was these instances that truly rounded the show nicely, as it did not rely wholly on one or two performers, but rather the whole cast made it what it was. Special mention must be given to the songs "The Dark I Know Well" and "Touch Me", in particular the former where Angela Scundi amazed me as the character of Ilse, a relatively unseen character before this song.

Edward Grey in 'Touch Me'

The most interesting part of the show for me was how the audience reacted. Being a Sydney Theatre Company show, I found that there was a surprisingly large amount of the older generations coming along, no doubt due to season tickets. Considering the content of the show, I knew straight away that they were in for a bit of a shock. With the combination of a masturbation scene, constant talk about sex and the first act ending with a sex scene and partial nudity, it didn't surprise me that many of these audience members left after the first act. What did surprise was how much the middle aged audience enjoyed it, as they clearly looked past the blatant sexual content, and considered the more meaningful issues of the hypocritical nature of this society, as young girls and boys are not taught about sex and as a result fall pregnant, yet they are still ostracised despite having no idea how that was possible. I think the social message of adult oppression overshadows any sexual content if considered properly.

The Boys in 'The Bitch of Living'

Finally the technical aspects of the show, which did not dissapoint in the slightest. The set consisted of a wooden floor, especially built for the show, that had a diagonal section at the front. At the back was a large wooden structure with a rotating middle section, that moved across the stage to create new locations. Various ladders and doors allowed the actors to move to different levels, creating a visually interesting performance. This was emphasised by the wonderful lighting design, which combined standard lights with floor lights, fly in hanging light bulbs and handheld lights. Particularly beautiful and powerful scenes were emphasised by the use of lighting, a highlight for me was the use of handheld lamps during 'Those You've Known', where the people that Melchior has lost haunt him out of the darkness with only these lights to illuminate them, a very powerful scene. However, in other scenes lighting was effective in increasing the energy, such as the use of floor lighting and flashing colours during 'Totally Fucked' and a similar use of lighting during 'The Bitch of Living'.

Akos Armont as Moritz in 'And Then There Were None'

To summarise, this was a great start to the year for me, in terms of theatre. I hope to see more shows by the Sydney Theatre Company this year, including Cate Blanchett in Uncle Vanya later this year and possibly the play August: Osage County by Tracy Letts. Also I'm hoping to finally see Jersey Boys, and to see West Side Story and Mary Poppins later in the year.

Here is an introduction to the male and female ensemble for the show:

Spring Awakening is playing at the Sydney Theatre until 7 March (possibly touring to Melbourne which is exciting)

West Side Story

So I have now been home from my New York trip for almost three months and am finally getting around to writing reviews of the other shows I saw. While in New York I was lucky enough to see the recent revival of the classic musical 'West Side Story'. This musical has been one of, if not my favourite musical for many years now and having only previously seen amateur productions or the fantastic movie version directed by Jerome Robbins, I was looking forward to seeing it done right. It did not disappoint.

The Jets in the 'Prologue'

'West Side Story' is a modern day version of Shakespeare's Romeo and Juliet. Set in 1950's New York on the Upper West Side, it follows two gangs, the Jets who include the many Italian and Irish American's living in this area at the time, and their rivals the Sharks, the Puerto Rican immigrants trying to live in a new country. Written and Directed by Arthur Laurents, with Music by Leonard Bernstein, Lyrics by Stephen Sondheim and Choreography by Jerome Robbins, the show is a tour de force of incredible talent in all creative outlets. For this production, certain scenes and songs were translated into Spanish by Lin Manuel-Miranda (creative force behind the hit musical 'In the Heights') and although for the performance I saw all songs were performed in English, many scenes were spoken in Spanish. For me personally it made no difference as I new most of the lines word for word regardless, it would be difficult for someone unfamiliar with the show to understand what is going on.

Although we had the understudy for Maria, all the leads were equally as amazing, although special mention must be given to Matt Cavenaugh (Tony) and Karen Olivo (Anita) who were a delight to watch.

Josefina Scaglione and Matt Cavenaugh

I was especially looking forward to seeing Cavenaugh's Tony, as I had previously been a fan of his work in Grey Gardens and in other smaller musical theatre ventures. Cavenaugh's operatic style of singing suited the role impeccably as he was able to hit every note not only with incredible emotion and feeling but he was also able to fill the room with music. As an actor he must be commended for bringing a new dimension to the role of Tony, a usually very wooden and 2D character. As an 18 year old boy, Tony cannot be expected to be able to fully understand love, hence in portraying him slightly more as a boy who has mistaken physical lust for love we understand the notion of 'love' in the teenage context. Cavenaugh's Tony is even somewhat sleazy at points, which although is initially jarring, works as a realistic representation of simple, clueless, love-struck boy. Considering that 'West Side Story' is in fact a modern Romeo and Juliet, it's nice to see more than just a couple of teenagers.

The Shark girls (Karen Olivo Centre) in "America"

Another honourable mention was the work of Karen Olivo as Anita. Olivo brought to the role the necessary sexy and sassy persona needed to be Anita. Paired with an incredible voice and fantastic dancing skills it was no surprise that Olivo won a Tony for her performance. Having previously come to prominence as Vanessa in 'In the Heights' she brought a certain streetwise and knowledgeable quality to the role. On the whole, her performance challenged the normal representations of Anita and gave it a new edge.

Haley Carlucci understudied for Josefina Scaglione as Maria for the performance that we saw, and although I felt she did not quite have the look of Maria, this was surpassed by her impressive skills both vocally and as an actress. Similarly, John Arthur Greene's Riff although perhaps falling short musically on occasion, definitely held that tough demeanour of a boy growing up on New York's Upper West Side in the 1950's. The ensemble cast also did not disappoint with their impressive dancing and singing abilities, an integral part of any West Side Story performance.

The Cast in "Dance at the Gym"

One of the reasons that this musical just works is the combination of Jerome Robbins' groundbreaking and timeless choreography and Leonard Bernstein's music. Having seen Robbins' choreography attempt to be reproduced by amateur productions with unsatisfactory results, it was a real treat to see it done right. Particularly for me the performance of the Dance at the Gym an incredible combination of latin dance along with contemporary tones (still relevant even today). Similarly, the cheeky 'America', sung by the female ensemble, also maintained the necessary comedic sass required of the scene, along with the impressive display of latin dance. Of course, I must mention the famous Prologue, where the two gangs (The Jets and the Sharks) meet on the streets of New York and reveal their anger and frustration at society and the gang mentality that makes them who they are, through dance. A display of flexibility, strength and emotion it sets the scene at the beginning for an incredible night's performance.

The Jets in the 'Prologue'

Lastly, it was a real joy to see the performance with the true dream ballet. Having seen previous attempts at the dream ballet by amateur productions without the use of proper dance, it just does not compare. To clarify what a dream ballet is, it is a sequence within a musical where a character or multiple characters dreams of a life that could be or the possibilities of the future. It is generally performed with new dancers representing the characters and often with the real characters watching on. A good example of this is the dream ballet sequence in Oklahoma. In this case, it was the dream of Tony and Maria's life if they could get away from their life in New York and the troubles they have faced. I could not have asked for a better dream ballet; although, there was an odd addition of the song being sung by a young boy, a character who before this scene seemed very much out of place. I did not think this addition really added to the emotion of the scene, but almost cheapened it.

Here is the performance of the Dance at the Gym from the 2009 Tony Awards

'West Side Story' is playing at the Palace Theatre on Broadway in New York City.

Next to Normal

Okay, so I returned from America about a week and a half ago, but as per usual it took me a while to get around to writing this. While in New York I was privileged enough to see Next to Normal, West Side Story, Chicago and The Lion King. Out of those four, Next to Normal was by far my favourite, hence I would like to start by reviewing that first.

This musical, which was nominated for Best Musical at the Tony's along with 11 other nominations (it won Best Score, Best Orchestrations and Best Actress in a Musical - Alice Ripley), can only be described with one word. WOW. It is not simply a musical, but more an experience. You go in and sit down for 2 hours and you don't just have good time but you come out feeling that you have just experienced something important and amazing.

Aaron Tveit, Alice Ripley and J. Robert Spencer

Next to Normal opened in April 2009 and details the struggle of Diana Goodman (Alice Ripley) a mother with bipolar trying to live with her illness. It also follows the trials of her family, including her husband, Dan (J. Robert Spencer), daughter, Natalie (Jennifer Damiano) and son, Gabe (Aaron Tveit). With only 6 people making up the cast, it gives the feeling more of a dramatic play with music to enhance the emotion, rather than a straight up musical. That being said the show has a total of 37 songs, so it is not lacking in music. Each act started and ended with a big or emotional number, which meant that as you walk out of the theatre either for interval or after the ending, and when you come in you are greeted by an outstanding piece of music, meaning that even if you don't like a few songs, you feel that the show as a whole is amazing.

Jennifer Damiano, Aaron Tveit and Adam Chanler-Berat

With the subject matter of mental illness, it can be hard to find a good balance between comedy and tragedy so that the show doesn't leave you feeling incredibly depressed. This show managed that incredibly well. It contained the right combination between Diana's illness and her struggle with jokes and subplots to prevent you from leaving on a downer. In particular the relationship between Natalie (Jennifer Damiano) and Henry (Adam Chanler-Berat) which allowed for a sweet little romance, separate from Diana's character.

Aaron Tveit, Alice Ripley and J. Robert Spencer

The show was impressive in that every cast member as equally as incredible a performer, so at no point does the talent fall short. That being said; however, Alice Ripley is by far a stand out performer in this show. She fully deserved the Tony for Best Actress in a Musical. During the 2 hours of the performance, Ripley demonstrates a full emotional spectrum, including multiple times where she was actually crying. I was lucky enough to have a seat close enough to see these tears, however, regardless of where you were sitting you have felt the raw emotion pouring out of this fantastic actress. After performing a show for over 250 performances, to continue to produce real tears onstage each night is a great accomplishment.

The whole cast in "My Psychopharmacologist and I"

Musically, the show is phenomenal. The use of harmonies throughout the show meant that despite only having 6 people in the cast, it still felt like that chorus element existed. I have seen shows previously that use small casts and no ensemble and without great harmonies it lacks that element of big show stoppers and powerful emotion that every theatre goer loves to see. I felt that Act 1 had more individually great songs, while Act 2 had great songs as a combination, meaning that Act 1 is one to chuck on the ipod in shuffle, but Act 2 is something to sit down with and listen the whole way through. This is partially due to the fact that many of the songs in Act 2 are reprises, emphasizing the changes that have happened between the characters and what effect these changes have had on each character. This being said Act 2 in no way fell short in terms of emotion. By the last couple of songs, I could hear sniffles coming from all throughout the audience, and this was on top of my own tears. At the end I whole heartedly stood up and clapped with glassy eyes and cheered for the amazing cast. Of course I wasn't the only one, I doubt there was a dry eye in the house. Out of the four shows I saw, Next to Normal was the only show that received a standing ovation, the tears were just an added bonus.

The whole cast in "Light"

Technically, the show did not fall short. Using a unique set design, the stage had three levels, each level incorporating the band in some way. The lighting worked to compliment this, through a combination of side lighting, back lighting and individual light bulbs attached to the ceiling of the centre level. A particularly poignant use of lighting was during 'Light' where the backdrop raised to reveal a blue light background, symbolizing change and the new light. It was a really nice touch at the end. Lots of side lighting meant that the show had a great paranoid and emotional mood. Sound was used very effectively to demonstrate falling asleep by anaesthetic as well as emphasising Diana's delusions.

Louis Hobson and Alice Ripley

I was lucky enough to meet the whole cast after the show and get there autographs. As a musical nerd, waiting at the stage door, that was probably the highlight of my trip.

If you happen to be in New York anytime soon, please see this musical. It will not disappoint. If you can't get to New York, listen to the soundtrack. It too will not disappoint.

Here is the cast of Next to Normal performing at the 2009 Tony Awards. Watch this, you will understand what I'm on about.

Chicago Extended and Excitement for November

Just thought I'd let people know that Chicago has been extended until December 13,

Also, on the 18th of November I will be heading off to New York.

While I'm there I'll be seeing The Lion King, West Side Story and Next To Normal.

I plan to review all three and I'll also be posting about what else I get up to while I'm there.

Right now I'm in exams, so I won't be posting until then,

Em

Chicago

Someone once told me that the sign of a great musical is not the solos but in fact the big chorus numbers. This statement could not have rung more true than when I went to see Chicago at Her Majesty's Theatre last week. To put it simply, the leads were less than satisfactory, but the ensemble made up for it.

The stage was set up with the bare minimum of sets. The main feature of the stage was the orchestra on a tiered stand halfway upstage. Added to this was a couple of swinging ladders at each side of stage, and a few chairs strategically scattered around. The cast would rise up from in amongst the orchestra, an intriguing use of the non-naturalistic style. However, despite an interesting use of the minimalistic approach, it was boring, and the leads did not help the situation.

Craig McLachlan and Sharon Millerchip, 'We Both Reached for the Gun'

Let me begin by pointing out my least favoured of the cast, Mr. Craig McLachlan. In the role of Billy Flynn, the cool, smooth and suave lawyer, who is only interested in the money (despite what he sings) McLachlan was downright dry and wooden. The lack of feeling expressed from the man made it blatantly obvious why his only previous claim to fame was being on Neighbours. A fault more related to the director than himself, was his inaccurate and forced use of the American accent. I did not for a second believe that he could have ever possibly hailed from the United States, even Canada would have been a stretch. For a character that normally should be one of the highlights for the show, McLachlan's Billy was not a highlight. Despite his feeble attempt at acting, I will give him credit for his singing, the man is certainly able to hold a note and deliver the goods when required. Despite this; however, his singing still remained dry as once again there was no feeling.

Caroline O'Connor as Velma Kelly

Moving on to a more well known member of the cast, Caroline O'Connor, a veteran star as Velma Kelly, was exactly that, a veteran. While demonstrating that yes, once she may have been amazing, it was difficult to believe that a woman who could be my own grandmother, could be convincing as a sexy vaudeville star in 1920's Chicago. It was also rather disturbing how she has managed to maintain her incredibly slim figure, and at times made me feel uncomfortable in my seat. Yet, despite being too old for the role, she deserved spot on the stage as a great performer. Although I never saw O'Connor play Velma Kelly in the production of Chicago about 10 years ago, I can understand that it would have been an experience one doesn't forget.

Caroline O'Connor and Sharon Millerchip

As Roxie Hart, Sharon Millerchip was good. I really don't have much else to say about her except, she was pretty good. Although, I will point out that whoever was giving them dialect training and perhaps the director for suggesting these accents, needs to reconsider choices. Her high squeaky voice was inappropriate for the character and downright annoying. Roxie Hart is the main character of the musical, and yet I wasn't particularly interested in seeing more of her, even after her brief appearance in the opening number. She can sing though, I will give her that.

Gina Riley and Caroline O'Connor

Gina Riley as Matron Mama Morton, was surprisingly good. Her voice was powerful and it made for an interesting rendition of 'When You're Good to Mama'. However; once again, no fault of her own, the direction of Riley's scenes and songs was poor. In attempting to maintain the minimalistic style, Riley's movements during When you're good to mama were awkward and she needed to either remove the movement from the entire song, or add movement to the entire song. Instead, she moved only on two, maybe three occasions through the song and it made for a very boring number. As I have stated before, her accent was wrong. Just wrong. Not one second did I believe that she was a from the south of America, yet I enjoyed her performance nonetheless.

'Cell Block Tango'

The main redeeming features of this musical was in fact its ensemble. With outstanding performances from all the ensemble cast, special mentions have to be given to Rohan Browne, as Fred Casely, and Ryan Stuart, as every member of the Jury. For me, these two actors made the show entertaining. The role of Fred Casely by Rohan Browne, was by far the most hilarious part of the show. In the court room in combination with Roxie and Amos (played by Damien Bermingham) the egotistical and over the top performance of Rohan as Fred, was a refreshing change to the somewhat slow pace of the first half of the show. Similarly, Ryan Stuart as every member of the court room also added to the fun atmosphere of this scene. Although these two actors particularly shone through, all the male members of the ensemble were incredible in their dancing skills. In seeing them come on stage to back up a song, I knew that the number would be lifted by their dancing, (special mention of their performance during 'Roxie'...nice). Likewise, the female ensemble members wowed us in a great interpretation of the 'Cell Block Tango', in this number the minimalism of the set worked in their favour, as there was nothing to detract from their characters.

A note on the technical aspects of the performance:

• I really enjoyed the incorporation of the orchestra into the set
• The followspot operators deserve a prize for an amazing snap from a full body shot of both Caroline O'Connor and Sharon Millerchip, to a headshot, while they were dancing. I salute you for that
• The ladders on the sides of the stage allowed for an interesting use of levels onstage
• The minimalistic set was interesting in its use, but I can't decide whether I liked it or not, or whether it actually worked

Finally a few quick mentions.

I really liked 'We Both Reached for the Gun', it was good fun and it got a few laughs, particularly when Craig McLachlan is essentially flopping Sharon Millerchip up and down. I leave that one to your imagination. I really didn't like 'Razzle Dazzle', it simply lacked any razzle or dazzle. I really didn't like 'All I Care About', Craig, you seem to me not to care about anything, so I can't believe you when you say all you care about is love. Sorry.

Chicago is playing at Her Majesty's Theatre on Exhibition St until October 25

Paris Match

A Scene from Suite en Blanc

The Australian Ballet's last ballet, called 'Paris Match', a combination of a traditional french ballet, with a modern style ballet, was a triumph in beautifully choreographed dance. 

Andrew Killian in Suite en Blanc

Opening with the 'Suite en Blanc', the first ballet was a traditional french ballet, complete with white tutus and men in tights. The highlights were a beautiful Pas de Deux, between Rudy Hawkes and Robyn Hendricks. Rudy Hawkes appears to be one of the rising stars in the Australian Ballet. Although he is not a principal he appears to have the grace and technical ability of a Principal dancer. Special mention must be made of the Finale, where all the dancers showcased their abilities in a spectacular finish. This ballet was surprising in the use of a large number of chorus dancers, as well as soloists and principals; although the chorus did not appear to actually do that much dancing, rather they acted as the backdrop to the soloists. That being, it still combined to create a visually beautiful dance. The use of only white and black for costuming not only remained in line with traditional ballet and the spirit of the ballet, but added an extra element of elegance that helped in lifting the beauty of the dancers. 

A scene from Divergence

The second ballet, Stanton Welch's 'Divergence' was nothing short of amazing. The combination of intriguing costuming and simple yet effective lighting created a feeling of edge and immediately drew you into the dance. I particularly enjoyed a spider like dance of three lead female dancers in front of an orange backdrop. The only light source on stage was the orange background, casting the dancers in black as they skulked across the stage. Using pointe effectively, these dancers managed to create a sense of spiders and animals sneaking up on their prey. Another notable mention was the Pas de Deux with Principal dancer Robert Curran. Curran's intense strength was integral in maintaining the feeling of edge and intrigue which carried through the ballet. I particularly enjoyed the black tutus worn by the female dancers, created using industrial materials. 

Yosvani Ramos in Divergence

The juxtaposition of Serge Lifar's traditional ballet from 1943, with Stanton Welch's modern ballet, premiered in 1994; formed a great night of entertainment. 

Paris Match is now closed; however you can view a performance of the Pas de Deux from Divergence here:

More photos can be viewed here:

http://www.australianballet.com.au/main.taf?p=4,1,1,1,14

I look forward to the next ballet from the Australian Ballet Company,

Em

Media Animations

I need feedback desperately,

please watch this video of my animation at its current form and let me know whether you think this seems too choppy, or whether its fine, i can't decide whether to redo it or not. 

Thanks,
Em

Thoughts 7/6/09

So after pretty much bagging Billy Elliot a lot, I decided to have a look at some of the productions done in other country's. 

I've since come to the conclusion that perhaps Billy Elliot the Musical is not as bad as I thought it was, but rather the kid that we got who played Billy Elliot was just crap and ruined any chance of me liking the musical. 

So sorry Billy Elliot fans, I guess it was just the kid that ruined it. 

Soft self-portrait with grilled bacon, by Salvador Dali

On another note, I'm looking forward to the Winter Masterpieces at the National Gallery of Victoria this year, as it is a Salvador Dali Exhibition. 

Salvador Dali is probably one of, if not my favourite artist. His surrealist paintings along with interesting films, that once made a cameo in Alfred Hitchcock's Spellbound (highly recommend anyone to see this film) are both intriguing and characteristic of 20th century surrealism. 

The exhibition, entitled 'Liquid Desire' opens on 13 June and runs until 4 October. It contains some of his most well known paintings, including "The Disintegration of the Persistence of Memory" (well known to most as melting clocks). The exhibition includes not only his paintings, but also photography, films, sculptures and more. 

The Disintegration of the Persistence of Memory, by Salvador Dali

Also, right now there are  movies I'm looking forward to/ want to see. 

1. Fanboys:

On at ACMI, sounds hilarious, nothing beats a bunch of nerds who work at a comic book store trying to break into George Lucas's ranch to get a sneak peak at the new star wars. 

2. Adventureland:

Supposed to be quite good/ funny, friend recommended it, I think i'll go and see it. 

3. Coraline:

I know it doesn't come out until August, but I cannot wait for the new stop motion animation film by Henry Sellick (Nightmare Before Christmas)

Anywho, those are my thoughts for the moment,

Em

Nutcracker: The Story of Clara

So last night I went to see 'Nutcracker: The Story of Clara' performed by the Australian Ballet Company. 

I very much enjoyed this adaptation of the Nutcracker. Quite different to the original story, this Nutcracker (created by Graeme Murphy) was set in 1950's Australia and followed Clara (Marilyn Jones), an ex-patriot Russian Ballerina, living in Australia. On Christmas Eve her friends arrive to celebrate with her; however, she is stricken with hallucinations and problems (which a young doctor arrives to help her with). Once her friends have left she falls into a hallucination that returns her to her life as a young ballerina in turn of the century Russia; continuing through her lifetime until her arrival in Australia with the Russian Ballet. 

The Three Clara's (from left, Amy Hargreaves, Rachel Rawlins, Ai-Gul Gaisina)

The beginning of the Ballet was somewhat slow and devoid of much real dancing, mostly a take on old people dancing drunkenly on Christmas Eve. Although comical, it lacked enough dancing to keep me completely interested. By the time Clara had entered into her hallucination; however, it became a display of incredible dancing talent and interesting story progression. As she first enters into her hallucination she is attacked by a troop of ninja rats, designed to appear similar to Cossacks (Russian Police). This is an adaptation from the original story, as Clara is attacked by rats and her toy soldier comes to save her. In this story it is her Army Officer lover who saves her from the rats. A combination of acrobatics, beautiful lighting and a poignant reuniting of the Officer with Young Clara, this scene paved the way for fantastic show. Although by this point, we were one scene away from the end of Act I, leading me to believe that Act I was predominantly slow, with a strong ending. 

The fake Ballet Russes

Act II not only demonstrated the level of dancing that we had paid to see, but also contained some of Tchaikovsky's most well known songs from the Nutcracker Suite. At times though, I was a little disappointed that in some of my favourite dances they did not exhibit much actual dancing, such as the chinese dance, a moderate paced bright song merely containing the majority of the company performing tai chi; and the Russian Dance (Trepak) did not really begin dancing until half way through and lacked the Cossack jumps that I had expected to accompany it. 

Rachel Rawlins and Kevin Jackson as Young Clara and the Officer

These factors aside, the dancing was, for the most part, amazing. We were privileged enough to have Danielle Rowe, one of the upcoming prima ballerina's in the Australian Ballet, perform as the younger Clara. I can absolutely understand why she is one of their best principal dancers. Every pas de deux between her and the Officer (Played by Andrew Killian) was more beautiful than the last. Her extreme flexibility and ability to maintain some of the most difficult lifts I have ever seen were nothing short of breath-taking. A special mention also was the Arabian Dance, in which about 6 or 7 of the male dancers replicated Egyptian slaves and performed an intriguing dance accompanied by a large rope to represent their shackles. This dance was so compelling, that I did not notice that there were 6 or 7 half naked men on stage until more than half way through. 

A sample of Kristian Fredrikson's Costumes for the fake Ballet Russes

The production values of the performance simply accentuated the enchanting nature of the show. Along with multitudes of changing sets, strong, powerful lighting and large scale screens to project images of Revolutionary Russia, were the spectacular costumes designed by Kristian Fredrikson. Each costume was either stunningly beautiful, or surprisingly accurate for the time period they were representing. Special mention goes to the designs for the fake Ballet Russes performances. I also have to mention the use of an amazing two way mirror. The mirror would appear as a mirror, but when Clara's older self came up to it from behind, it would no longer appear as a mirror but a window. I still cannot figure out how this effect was created, but it was nothing short of amazing. 

The Mirror effect

Here is one of the Pas de Deux's between Young Clara and the Officer (performed by Danielle Rowe and Andrew Killia at the So You Think You Can Dance Finale 2009)

'The Nutcracker: Story Of Clara' is on the State Theatre, the Arts Centre until the 18th June

Overall Opinion: Definite must see for all ballet/ dance lovers

Em

Billy Elliot

So last night I went to see Billy Elliot: The Musical, at Her Majesty's Theatre on Exhibition Street, Melbourne.

The musical was written in 2005, based on the film of the same name. Directed by Stephen Daldry (directed the film, also directed The Reader) and with music by Sir Elton John, it tells the story of a young boy (Billy) living in County Durham, England, during the Miner's strike of 1984. Trading his boxing gloves for ballet shoes, Billy dreams of becoming a dancer, with a little help from his teacher Mrs. Wilkinson. His family; however, does not approve, as they struggle to survive the strike. Billy manages to get an audition with the Royal Ballet School in London and ends up performing in Matthew Bourne's Swan Lake in London (this part excluded from the musical).

An Image from the Original Movie

I was not impressed with the musical as a whole. The music was slow and boring, without a single catchy tune. I can honestly say I came out of the theatre singing songs from a different musical. Unlike the film, the story progressed without much interest, as the songs were slotted in almost forcefully. Act I was particularly slow, the only highlight being the well cast Mrs. Wilkinson (played by Genevieve Lemon) who managed to bring some comedy to the act, along with Billy's friend Michael (played by Landen Hale-Brown) who's cross dressing shenanigans and tap dancing brilliance (I was amazed that a 12 year old boy could tap dance that well) also were the only highlights of act one.

The Pas de Deux Ballet, between Billy and Older Billy

Act II was decidedly better than Act I, mostly due to the Pas de Deux ballet between Billy (played by Daniell Russel) and Older Billy (Played by Brendan Yeates). Danced to the Finale from Swan Lake, it demonstrated the kind of elegant and beautiful dance that I had expected to see from a musical about a dancing boy. I would recommend going to see the musical, only to see this dance. It was the only section where the music was somewhat interesting, and that was due to the musical storytelling genius of Pyotr Tchaikovsky. The part of the second Act that irritated me the most was the exclusion of Billy's triumphant dance in Matthew Bourne's Swan Lake, which was entirely excluded. The fact that they decided to remove the climax of the film led to me to consider whether they ever really watched the film when adapting it to a musical.

Jackie Clune as Mrs. Wilkinson in the Broadway Production

The acting for the most part was average to say the least. Billy's dad (played by Richard Piper) and his brother Tony (played by Mike Smith) were overly angry for the role. Billy's dad is supposed to be a man who has been hurt badly by the Miner's strike and the loss of his wife; however, he came across as harsh and at some points inhumane. Tony was similar in this respect, most clearly shown when Billy receives his letter of acceptance and Tony goes off on an angry tangent after news that the strike is over is received; an unnecessary addition to the scene. Finally, Billy Elliot himself, played by Daniell Russell, had to be one of the worst actors/singers I have ever witnessed in my life, and I've worked on 5 school musicals. His County Durham accent was laboured and over-exaggerated. By comparison with the film, (of which I am a true fan) he did not capture the sweet child caught up in an angry time, nor was he able to accurately perform the jokes from the script. In the kids defence; however, he can dance very well, like I said earlier, I was amazed that a 12 year old kid could tap dance that well. That being said though, during the Pas De Deux Ballet, you couldn't take your eyes off the older Billy. It was not purely the kids fault that he didn't fit the role though, casting clearly did not consider that this boy was too small, too clean cut, too cutesey and quite frankly I did not believe when he said "just because I like ballet doesn't mean I'm a poof".

Cast of the West End Production

Finally, the production values. This was where the show redeemed itself. The sets were to say the least, amazing. With a moving spiral staircase that came up from the floor, along with rooms that slid on and off stage, walls that came down from the roof and all with delicately painted surfaces. Complementing this was a lighting design that was beautiful at the very least. This was particularly noticeable during the Pas De Deux Ballet, as the combination of billows of smoke along with white light from stage left and two delicately placed specials meant that the elegance of the ballet was demonstrated perfectly. The addition of special effects such as snow falling on stage and a giant screen projecting the scenes from the Miner's strike to set up the background of the story, were also a delightful touch.

To put it simply, bad acting, bad songs, good dancing, good production values, I wouldn't recommend going to see it.


Here is the Pas de Deux Ballet from the West End Production

Tonight I'm going to see 'The Nutcracker: The Story of Clara" performed by the Australian Ballet at the Arts Centre. I am sure this will be a much more enjoyable night.

Em