Tim Carney - Page 2

Craig Wright's The Pavilion is a wonderfully thought provoking piece of theatre. Boutique Theatre's presentation of the Australian Premiere of this piece captures the essence of the writing and presents it simplistically and elegantly. At the heart of the story are Pater (Tim Constantine) and Kari (Katharine Innes), high school sweet hearts, who split when Peter left Kari after she fell pregnant with his child. The Pavilion is set 20 years on from this moment at the reunion of the class of 1995 where Peter ultimately comes to try and rekindle the love he had for the now married Kari. On the periphery of this is the Narrator (Claire Pearson) who opens and closes the show with some lengthy philosophizing and then acts as the multiple supporting characters that intertwine throughout the reunion and ultimately the moments shared by Peter and Kari.

Once, the musical adaptation of the film by the same name is quite possibly the most complete display of craftsmanship and creativity in modern theatre. This coupled with its stunning book by Edna Walsh and equally exquisite score by Glen Hansard and Marketa Irglova provide for an evening at the theatre unlike any other.

Watching distinguished, seasoned veterans onstage in Jonathan Church's play The Last Confession was a privilege. Opening in Melbourne last night, in the final leg of an international tour, The Last Confession centres around the life of Albino Luciani, (played with sincerity and compassion by Richard O'Callaghan), his election as Pope John Paul I and ultimately his death a mere 33 days later. It is an intriguing event not only for the Catholic Church but also in the history of the world with the Church refusing to investigate the potential of foul play from the conservative enclave of the Vatican.

Last nights opening of the reimagined Les Miserables was a defining moment in Australian music theatre. While maintaining its history and staying true to its origins, Cameron Mackintosh's new production is the dawning of a new era. Its metamorphoses from its original production to this new adaption is subtle, yet every change advances the show into the realm of the contemporary theatre. While the grandeur of the original masterpiece is at times missed, the simplicity and sharpness of the design enhances the story and brings Victor Hugo's original text to life.

From the opening moments of this latest revival of Rogers and Hammerstein's iconic musical The King And I, we are transported to the heart of Asia, its intricacies, its nuances, its customs. Pre curtain, four male Buddhist monks adorned the stage with incense, creating a reverent, calming and authentic moment, the prelude to a plethora of stunning moments littered throughout this magical piece.

A show that can continue to run for over 10 years worldwide despite wars, financial crises, and political unrest can be nothing other than a smash hit. There are few shows that can sustain such longevity and remain as remarkably fresh and true to its original product. The return Australian season of Stephen Schwartz's defining musical Wicked proves that this show will remain one of the greatest musicals of our lifetime. For while last night's opening in Melbourne felt very long there was always a single moment to remind us that we were watching a truly spectacular show, performed by an even more spectacular cast. It dragged in parts and flew in others. It was a rollercoaster of extreme highs and periods of flatness. Wicked's biggest strength, it's score, is also its greatest weakness in that dialogue seems so slow seemingly trudging to the next musical highlight. The magic of the score outweighs these mundane moments so overwhelmingly though that it is easily forgiven. It's hard to think of a greater end to Act I in any other musical than Defying Gravity, a more narratively driving opening than No One Mourns The Wicked or a more powerful dramatic moment in No Good Deed.

Whether you've seen Richard O'Brien's Rocky Horror Show on multiple occasions from its incarnation 40 years ago or last night's Melbourne opening was your first experience with the cult classic, one ensuing thought rings true; what was that all about, followed by wow...I think I actually enjoyed that. No doubt the more you see the Rocky Horror Show the more it gives you and the more meaning you create for yourself from the piece of science fiction theatre. Its cult status proves that more than just the audience at the Comedy Theatre last night enjoy this show.

Tim Maddren currently starring as Brad in the Australian tour of the Rocky Horror Picture Show took some time out to have a chat to Broadway World about the show, his role and it's upcoming opening in Melbourne on April 26. '

Bernadette Peters is a music theatre icon unsurpassed by many, if any. Even if you've haven't seen her craft on display, she is bound to be on an original cast recording that you have tucked away amongst your collection. Peters graced the stage of Her Majesty's theatre in Melbourne last night on the final leg of her Australian tour with an orchestra of local artists under the guidance of her legendary musical director Marvin Laird. Her familiar tone and vibrato was on display and even if her voice happened to waiver in certain moments the connection she had with her lyric far surpassed any technical hic up. As composer Stephen Sondheim's muse, Peter's has had to clearly develop her interpretation of some of the more complex melodies and lyrics in the music theatre repertoire. It is in this pocket that she sits superior to any of her peers. Her delivery of Send In The Clowns from A Little Night Music and Losing My Mind from her most recent Broadway show Follies prove to be Peter's stand out performances on this evening. The combination of piano, clarinet and voice in Send In The Clowns is as close to perfection as you could get.

The cabaret and circus worlds infused last night as incredibly talented performers welcomed their audience into the wonderful world of Empire at the return season of this ridiculously thrilling show. The intimate nature of the show captures your attention and imagination from the moment you step into the tent and that imagination is taken on a whirlwind ride through the vaudevillian world captured so aptly by its creative team led by director Terence O'Connell and choreographer John 'Cha Cha O'Connell.

It's hard to know where to start with this production of Grease. So much is right, even more is wrong. It is a combination of product and treatment of the product that impacts on the overall aesthetic of this show. The audience participation section at the beginning of the show is particularly laboured and drawn out and it takes an almighty burst of energy from the ensemble in Grease is the Word to recapture our waning attention. This energy level is never matched through the rest of the show leaving it feeling slow, clunky and particularly cheesy. Grease is an almighty movie, a classic that spans generations and has some of the more iconic characters of our time. While independently Rob Mills as Danny and Gretel Scarlett as Sandy do admirable jobs, collectively there in an apathetic connection between them. Their relationship, like a lot of the show, is underwhelming.

Grease the musical will open in at Her Majesty's Theatre in Melbourne this weekend and from today's media call it looks to be one of the most vibrant and spirited mountings of the show. With an all star cast led by Rob Mills (Danny) Gretel Scarlett (Sandy) Anthony Callea (Johnny Casino) Val Lehma (Miss Lynch), Stephen Mahy (Kenickie), Lucy Maunder (Rizzo), Todd Mckenney (Teen Angel) and Bert Newton (Vince Fontaine) and an ensemble filled with high octaned performers, the show is sure to be a hit in what is a massive year in musical theatre in Melbourne . Having already completed seasons in Brisbane and Sydney, Grease comes to Melbourne on the back of great audiences and reviews. It seems Australia can't get enough of the iconic show with half of the 12 week season already completely sold out. Callea echoed that when we spoke today saying that 'the show is so much fun that audiences all over the country have been loving it wherever we go.' It's success so far has paved the way for confirmed seasons in Singapore, Adelaide and Perth, so be sure that you see this most famous show before it leaves Melbourne's shores.

The Production Company rounded off its 2013 season last night with Gilbert and Sullivan's classic operetta The Pirates of Penzance. There was, however, little reference to the classic that was first performed in 1879. There have been many adaptations of the original, with this production centering on the 1981 Broadway production. This show is undoubtedly fun. In fact, that is the most apt word to describe this production. It's light and fluffy in all the right places, however, its biggest strength is also its ultimate undoing. For while director Dean Bryant has tapped into the light pantomime frolics that make Pirates so enjoyable, there is little variation to the over flamboyance presented on opening night. This show fails to find the truth in moments that call for it. Any honest point is made light of or brushed over with seemingly little regard. The show fights against itself, leaving us partially satisfied but never fully satisfied.

'On Broadway' is an experience currently being offered to young performers across Australia. Headed by four seasoned Broadway professionals, this opportunity allows both professional (over 18) amateur (under 18) to learn from these music theatre masters and also audition in front of them as part of a competition that enables the winners to travel to New York to meet agents, see shows, meet cast and receive advice on obtaining an 0-1 visa to potentially relocate and work in the U.S.

After a 10 month break the juggernaut that is Wicked returned to rehearsals this week before their upcoming foray to Auckland and Manila, with a return engagement in Australia commencing May 2014 in Melbourne to follow. While some familiar faces remain, the majority of the cast are brand new. After an exhaustive audition process, assembled is a young, energized and particularly talented group of performers ready to bring the prequel to The Wizard of Oz to life.

Orchestra Victoria, under the direction of maestro John Foreman sweep into the overture of the production company's production of Singin' In The Rain with such flamboyance and precision that anything that follows seems mundane and a little underwhelming. This is a combination of the show, the cast and the limited set, constricting the cast's ability to maximise their skill and talent.

Hot Shoe Shuffle is a fascinating show. Its part story, part revue, part tap through line give it somewhat of an incomplete, dysfunctional feel. However, the part tap is enough to lead this show to one conclusion...all entertainment.

The relationship between man and horse has been an area of interest for playwrights and authors alike for centuries. The companionship of the creature for man during battle, along with its capacity for the extraordinary, give

The songs aren't memorable, the story is flawed, and yet King Kong the musical is one show that will stay with you long after the final curtain.

5 Pound Theatre's production, 2 short Russians, opened this week at the Owl and The Pussycat. Act 1 opens with Maksym Kurochkin's Vodka Fucking and Television. In this play Hero, played effectively by young up and coming actor Jack Beeby has to decide whether vodka (Susannah Frith) fucking (Clare Callow) or television (Dmitri Pronin) is ruining his life. All three state their case trying to persuade Hero to eliminate one of them from his life. Jason Cavanagh's direction of this piece is stunning. He incorporates technology throughout this script in a way that highlights its contemporary nature, while still managing to keep the play's intimacy and core value. You are left wondering whether Kurochkin's play is a personal confession or a snapshot of a generation at the turn of the 21st century.