Review: BEING STEVE at Theatre On The Bay Crackles with Talent, Energy and Ambition

BEING STEVE, featuring the music of Stephen Sondheim, Schwartz and Flaherty is a celebration of some of the most prolific contributors to musical theatre in history - all of whom happen to share a first name. This high-energy revue, performed by the current students of Luitingh Alexander Musical Theatre Academy (LAMTA), crackles with talent, electricity and passion. As the company belted out its finale, "Our Time" from Merrily We Roll Along, I could not help but ruminate over just how apt the lyrics were:

'We're the movers and we're the shapers.
We're the names in tomorrow's papers.
Up to us, man, to show 'em ?

It's our time, breathe it in:
Worlds to change and worlds to win.
Our turn, we're what's new,
Me and you, pal,
Me and you!'

It's our heads on the block.
Give us room and start the clock.
Our time coming through,
Me and you, pal,
Me and you!'

These students are on the brink of their professional careers in musical theatre and many of them will, undoubtedly, explode onto both local and international stages. To witness this 'offering', as LAMTA (and show) directors, Duane Alexander and Anton Luitingh refer to it in the programme, one feels as though one is indeed catching a lucky glimpse of stars before they become fully visible in the sky. We are the privileged few who are to experience those who will become 'the names in tomorrow's papers' today. And that feels like a great honour. At the forefront of BEING STEVE are future musical theatre practitioners who have trained hard, who are hungry to be onstage and who are ready to share their craft with audiences - and they certainly deserve them.

Some voices in the earlier years of their training at LAMTA are still developing and microphone issues sometimes detracted from the performances mostly because the audience could not always hear the performers. However, since I watched the show on only the second night, I have no doubt that these technical issues have been addressed and will not interfere with the rest of the run.

In "Magic to Do", which is the first song of the show, I detected what felt like some opening-number nerves. Sometimes, during this song, company members were a bit stiff, did not perfectly execute their vocal entrances and the piece as a whole did not feel cohesive. However, this proved to be an 'opening-number-on-second-night nerves issue' - the rest of the revue displayed confident, precise performances and the rest of the production runs like a tightly oiled ship with calm, well-practised performers.

With 36 performers from all three years of study within LAMTA, this show includes 25 songs from 14 different musicals. The revue is incredibly slick, with seamless transitioning from one song to the next. There is no dearth of talent here and the most difficult part of writing this review was selecting my highlights. Every time I made an asterisk in my notes during the show to indicate my new favourite piece or voice, I would find myself making a double-asterisk in the next song, then a triple-asterisk in the next until eventually my pages were covered in an undiscernible mess of symbols ranging from hearts to underlined exclamation marks.

The immense talent of the performers (as well as my inability to create a functioning ranking system) makes it impossible for me to mention everyone who deserves to be mentioned but some of my favourites included the following:

Chlöe Howes in "Crime of the Century" is fantastic. Her stage presence, unique sound, comedic timing and the choreography executed by the rest of the company made me wish that the song were longer. For me, this is definitely the most fun of all the pieces in terms of characterisation. "Agony", performed by Gianluca Gironi and Miguel de Sampaio, is a close second in this regard. Duane Alexander's inspired choreography has the pair using stick horses as swords, ladders, phalluses and (sometimes) trusty steeds in a duel of classic bravado.

Jasmine Minter in "God Help the Outcasts" delivers a magnificent, vulnerable performance with her strong voice and raw emotion soaring through the auditorium seemingly into the heavens, earnestly seeking answer to her character's prayer.

I loved Tumelo Mogashoa's attitude in "Cool" from Westside Story. His swagger and conviction make him impossible not to watch - in every piece in which he features. The choreography here, with just the right amount of clicking, is a highlight and lives up to the song's name.

I am an absolute sucker for Wicked. Hannah Norcott and Gemma French's "For Good" was vocally powerful, touching and did Idina Menzel and Kristin Chenoweth justice while providing their own unique take on the piece. I also enjoyed the smooth voices of Sunny Yoon and Robert Everson in "As Long as You're Mine".

Léa Blerk is a magnetic, sassy performer. Her facial expressions alone could do all the work but they never need to because her voice is just as showstopping. She was my favourite performer of the night and shines in both her solo, "Everybody Loves Louis", and as a member of the larger company in other songs.

Robert Everson is spectacular. His voice knows no bounds and he reminds me of a young Derek Klena. He is versatile, confident and a natural on stage with a voice that does not quit. His rendition of "My Petersburg" makes me want to rethink my decision to boycott Russia given current geopolitics. (For reputational purposes, this is a joke)

Gabrielle Knight is proof that dynamite comes in small packages. Her performance of "In My Dreams" is flawless and I have not stopped thinking about it since. Her ability to belt - resulting in a stunning crescendo -, her control and her vocal storytelling render her a star in the making.

"Being Alive" performed by Leah Mari is also outstanding. Her vocals are rich and her ability to make each note flow effortlessly without visible breathing is impressive. She is a captivating performer.

The voices of Nicola De Jager and Keely Crocker are also exceptional. Many other performers deserve to be mentioned but alas a review cannot capture everything and everyone. Suffice to say that the musical direction of Anton Luitingh and Louis Zurnamer produces excellent results and that the next generation of musical theatre stars in South Africa will not disappoint.

Faheem Bardien's lighting, Duane Alexander's staging and Niall Griffin's styling really enhance the mood of this revue. The stage stands empty but for bare lights arranged in columns at the back of the proscenium arch which give off rich shades of different coloured light throughout the show. This effect, combined with the subtly smoky air, provides a sophisticated atmosphere, charged by the energy of the company. The costumes of the performers are stylish, striking and come together like an eclectic collection at a fashion show. They seem to supplement the personas embodied by the performers during a given number.

Luitingh and Alexander have produced a beauty of a show which will have you wanting to shimmy your way onstage to join the spectacle.

Photo credit: Gustav Klotz

BEING STEVE runs from 16 November to 26 November at Theatre on the Bay. Tickets are R250 and can be purchased through Computicket.

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