Reviews

17/05/2023
Stage Whispers -
What a triumph for Willoughby Theatre Company!
By Carol Wimmer

The Von Trapp family has made its jubilant, musical way to Chatswood and the Concourse is alive with The Sound of Music. Heralded by a magnificent choir of fourteen nuns, they take the audience back in time to 1938 as the Third Reich invades Austria, and those who resist are swept away – unless, like the von Trapps, they have the courage to escape.

Based on that brave escape, The Sound of Music is a love story with a difference. There’s politics and history, religion and tradition, submission and defiance, lots of lovely music – and a family of seven children.

Adam Haynes obviously kept all of this in mind as he deftly and sensitively brought this very professional and moving production to the stage. There is care and sincerity in every scene. He has fostered the intimacy of a family torn apart by loss then brought together by love … and music. Yet he has also realised the humour and lightness that Howard Lindsay and Russel Crouse wrote into the dialogue and Rodgers and Hammerstein made famous in the songs.

This production is one of which the whole company should be very proud. The meticulous direction is matched by Janina Hamerlok’s creative and carefully instructed choreography and Callum Tolhurst-Close’s adroit musical direction. Together they have succeeded in producing a fresh, original interpretation of a much-loved musical. Not an easy achievement when they are also managing a cast of 40, ten of whom are children!

Working with children requires care and sensitivity. Working with two different sets of children as “regulated” can be even more tricky. Characterisation, blocking, movement, songs must be explained simply and explicitly. It takes a more than good direction! It takes understanding and firm, gentle command. From discussion with some of the young cast members and their parents, Haynes and his team achieved both admirably, as well as ensuring that the young actors felt and looked confident alongside other cast members.

Haynes chose that cast with care and a perceptive eye. The rapport and sense of family that was fostered in rehearsal shines brightly in every scene.

It is Maria, the young novitiate-cum-governess to whom the children must relate most closely. She needs to be warm and empathetic. She needs to inspire respect. She also needs to be able to sing those very familiar songs! Felicity Caldwell does all of this and more. There is warmth and tenderness in her performance. It begins with her deference to the nuns at the abbey. It wraps itself around the children. It touches the heart of their father. And and reaches across the orchestra pit to embrace the audience. Caldwell creates a Maria that is her own, a Maria who fills the stage with both the “sound of music” and tender caring.

Marcus James Hurley is Captain Georg von Trapp, the wealthy widowed naval hero who has been left with seven children. Hurley finds all the contained control of this character, his sadness, his sense of responsibility and his staunch loyalty to his country. There is subtlety in the way he reveals the real intensity of the Captain’s character: his genuine love of his children; the almost bemused realisation of his feelings for Maria; his strong defiance of the German invaders. Nowhere is that intensity so clear than in his face as he sings the haunting “Edelwiess”.

His children are played by 12 young people. For rehearsal and for booking clarity, the two families are called The Ländler Cast (after the Austrian dance performed in Act 1), and the Edelweiss Cast.

In every performance Abbey Thomas and Jimmy Chapman play Leisl and Friedrich, the two oldest von Trapp children. Both are talented young performers, who bring a youthful sincerity and vitality to these special roles. They have also established a warm, convincing connection with their young siblings in both families – leading them affectionately but also providing strong exemplars of focus and control.

Lana Harmey and Helen Jordan play the mischievous, prank-playing Louisa. Gabriel Wright and Xavier Billett play the sensitive but thoughtful Kurt. Chloe Brown and Isabella Coffey are the intuitive Brigitta, while Lilou McKenzie and Cara Ryan play Marta, who wants a pink parasol for her birthday! The youngest of the children, Gretl is played by Amy Mogan and Penelope Mortimer.

How intriguing it must also have been for the directors and the older cast members to see these fledgling actors flexing their wings, becoming more comfortable and confident in their relationship with each other and their stage “father” and governess. There is a genuine warmth in the way both sets of children relate with Caldwell and Hurley – and in the way Caldwell and Hurley care about them, especially in the last scenes, as they sing together at the concert … and as they hide with the nuns in the Abbey Garden.

The nuns! Fourteen wonderful voices led by Tisha R. Kelemen as the Mother Abbess fill the Concourse with perfect harmony. Kelemen brings operatic splendour to her role, as well as the ability to find the integrity and understanding warmth of her character. I’m sure there have been few Mother Abbesses played so skilfully. Julia Brovedani is the disapproving Sister Bertha, Julianne Horne the warm-hearted Sister Margaretta and Georgia Kokkoris plays the supportive Sister Sophia.

Baroness Schraeder is played by Taryn-Lea Bright who finds the panache and flair of the wealthy widow as well as her fickleness. Bright is a skilled performer who is at home on the stage, using it confidently and effectively, whether charming von Trapp and the children, or conspiring in song with the even more fickle Max Detweiler, played by Clive Hobson.

Hobson is a strong force on the stage. He injects his Detweiler with pace and pushy over-confidence, finding all his cunning and wiliness, as well as his charm and persuasiveness. Detweiler is not a particularly nice character, but Hobson makes his charm much more memorable than his duplicity.

John Tilbrook returns to WTC as Franz, the aging factotum who served with von Trapp in the navy, and Nerida Walker is the diligent, loyal housekeeper, Frau Schmidt. Both bring belief and humour to these roles.

Rolf, the telegram boy who has won Liesl’s heart is played by Matthew de Meyrick. This is a relatively small part, but politically important to the plot and De Meyrick makes his gradual transition to Hitler Youth effectively and convincingly.

Tim Wotherspoon is Admiral von Schreiber and Mitchell Jacka the nasty Herr Zeller. They are also part of the ensemble who dance at the Captain’s gala dinner. That scene is one of the highlights of the production. The choreography is true to time and place and is explicitly rehearsed and timed. The tiny segment where eleven-year-old Kurt dances with Maria centres the scene, and the children’s goodnight song takes it to a picturesque conclusion.

Picturesque is an apt word to describe this production. The set is stunning, the lighting, designed by Tom French, makes it even more stunning, gently illuminating special moments, and working in conjunction with Callum Tolhurst-Close and his hidden, but beautifully heard orchestra, to enhance the atmosphere of darker moments.

Adam Haynes, his creatives and all those working behind the scene – and there are many, including the parents who have buoyed their young actors through late nights and reluctant mornings and even now are working behind the scenes as chaperones – have every right to be very proud of a very professional and expertly reimagined production of this classic musical.
This production is one of which the whole company should be very proud.

14/05/2023
The Fourth Wall
Willoughby Theatre Company: The Sound of Music
By Daniel Conway

Nostalgia can be really powerful when it comes to how we judge things. Nothing will ever taste as good as the pizza from your childhood local shop, because it is more than just the pizza; it is the memory of the nights you spent with your family or friends watching movies. Nostalgia can set the bar for how we think something should be, how it should look, and, in the case of musicals, how it should sound. I say this because for many people, The Sound of Music is something steeped in nostalgia, and living up to the performance you went to as a child or the immortal performance of Julie Andrews on film can be nearly impossible. That is, of course, unless you are me, who, until last night, had never seen a production or watched the film in its entirety. I had no bar or childhood memory to compare Willoughby Theatre Company's production to, and I think that is to the detriment of any future productions I see because this is now my standard of how this show should be done.

Director Adam Haynes should be extraordinarily proud of his cast and crew. I could not fault a single moment, and every detail was just so impressive. I could not help but feel like I was looking at a storybook come to life. The set, lighting, and costuming gave a sense of whimsy that helped make this show so engrossing. Every transition was smooth, and the technical aspects of the show were impressive. Musical Director Callum Tolhurst-Close has brought out a beautiful sound from the cast and the band that is clear before the curtain even opens. The choral work of the nuns is stunning. In both the opening number and the wedding song, I gasped at how tight and clear they sounded. This quality is present throughout the show and deserves to be celebrated. Choreographer Janina Hamerlock's work also adds to the charm of this show. I was particularly charmed by the choreography in "Sixteen going on seventeen". Hamerlock and the performers captured a youthful playfulness and excitement that really elevated the number, in my opinion. This is a strong team that has created a brilliant show.

The show keeps asking you, How do you solve a problem like Maria? I think the answer to that is abundantly clear, cast Felicity Caldwell. She is quick, charming, and immensely watchable on stage. It is hard to be composed and excited, like in her early scenes with the Capitan. Caldwell's physicality did so much storytelling, and boy can she throw out a one-liner. Her voice is graceful and rich, every note was perfection and made me smile. Marcus James Hurley plays the serious and wonderful Captain Georg Von Trapp. Hurley is able to communicate this man's journey from cold and broken to healed and loving so well. His voice is exceptional in a way that catches you off guard, from the beautiful bass notes to some angelic highs, I was thoroughly impressed by this man.

The Von Trap family in this production is played by Abbey Thomas and Jimmy Chapman, who stay in the roles of Liesl and Friedrich, and a rotating cast of young people playing their siblings. On opening night, I enjoyed the performance of the Landler Cast with Lana Harmey (Loiusa), Gabriel Wright (Kurt), Chloe Brown (Brigitta), Lilou McKenzie (Marta), and Amy Mogan (Gretl). All of these young people did an exceptional job and showed the confidence and professionalism of people much older. Each member of this family shone on stage. I could spend paragraphs talking about each person individually, but in the interest of restraint, I will keep it to a few stray thoughts. Thomas's voice in the family ensemble numbers cut through so well, and her scene work was remarkable. Chapman had such an infectious joy in his physicality that made me smile, particularly when he is interacting with the younger Von Traps. Brown is a brilliant young actress who really shone in her scene informing Maria that she did, in fact, love the captain. Wright, Brown, and McKenzie work so well together and are so committed to everything they are doing. Mogan is a scene stealer who charms the pants off the audience.

I mentioned the awe-inspiring voices of the nuns previously, but it is worth repeating: I would pay good money to hear the entire nun chorus sing in concert. They are amazing. Voices aside, the nuns are so charming and joyful. This is particularly the case with Julia Brovedani, Julianne Horne, and Georgia Kokkoris during How do you solve a problem like Maria? The final nun is, of course, Tisha R. Kelemen as Mother Abbess. Kelemen has possibly one of the finest voices I have ever heard. Her rendition of Climb Ev'ry Mountain had me in chills. All of the nuns did a wonderful job of acting through their costumes, which forced them to really emote with their faces. Rounding out the featured roles is, of course, Taryn-Lea Bright as Baroness Elsa Schraeder and Clive Hobson as Max Detweiler. These two are so charming and delightful; they have a great playful energy that makes them really stand out as a duo. Both are incredible actors who kill it in their roles.

This is a slick and beautiful production filled to the brim with talented performers. Every single element is so well done and so captivating. I had never seen The Sound of Music before, but I will never forget the first time I ever saw it.

I give this production 5 rounds of Do-Re-Mi out of 5
This is a slick and beautiful production filled to the brim with talented performers. Every single element is so well done and so captivating.

15/05/2023
Theatre Travels
The Sound of Music at the Concourse, Chatswood
By Michelle Sutton

Willoughby Theatre Company presents the classic family musical The Sound of Music at the Concourse, Chatswood. Directed by Adam Haynes, the production features the incredible sets and impressive ensemble that Willoughby Theatre Company has become known for. Based on the inspiring true story of the Trapp Family Singers, The Sound of Music debuted on Broadway in 1959 with music by Rodgers and Hammerstein and book by Howard Lindsey and Russel Crouse.

The set is a dazzling visual spectacular, cleverly constructed on a rotating floor to comprise five different locations including the abbey, the interior of the Von Trapp house with multiple levels and the sweeping grand staircase, the Von Trapp house exterior, Maria’s bedroom and the famous Austrian mountains, cleverly depicted on a staircase. The set is an incredibly impressive and innovative construction and also extremely beautiful to look at. It works seamlessly throughout the show and elevates the production to the next level. The lighting design complements the set and aids in creating the world of 1930s Austria. The stained-glass window projection over the convent set is a beautiful sight to behold as you first sit down and the show begins. The lighting bounces off the different sets in beautiful ways, creating the illusion of different times of day and different seasons all on the same stage. The attention to detail in the costume design helps to bring the historical era to life, with especially fun designs for the children's outfits and costumes in the ballroom scene.

Musical director Callum Tolhurst-Close has done a remarkable job bringing the much-loved songs to life. The ballroom scene featuring traditional Austrian waltz is a beautiful moment with credit to the ensemble and choreographer Janina Hamerlok and assistant choreographer Skye Cornwell. Die-hard fans of The Sound of Music will be pleased with the renditions of the iconic songs.

The charming and spirited Maria Reiner is played by Felicity Caldwell, who has the perfect vocal tone and skills, playful energetic stage presence and comedy chops for the role. She is a joy to watch throughout the whole show. Marcus Hurley commands the stage as Captain Georg Von Trapp, bringing the appropriate gravitas and charisma to the role. The actors’ chemistry is highlighted in duet “Something Good” with Caldwell’s lower register shining. Tisha R. Kelemen stuns as Mother Abess with her immaculate soprano voice and all of her solos are a highlight.

The Von Trapp children are played by a group of extremely talented actors, dancers and singers who have great chemistry with each other and brilliant comedic timing. Chloe Brown shines as Brigitta, with a voice like crystal and a delightful embodiment of the precocious, unrelentingly truthful Von Trapp daughter. Liesl Von Trapp is played by Abbey Thomas who is a true triple-threat and definitely a star in the making with impeccable vocals and a captivating stage presence. Highlights of the production include the big musical numbers that feature the children including “Do-Re-Mi” and “So Long, Farewell”.

Director Adam Haynes has done a great job bringing a beloved classic musical to life, with strong performances from all of the cast, musicians and an absolute treat of lavish set and costume design. Willoughby Theatre Company’s production of The Sound of Music is an uplifting celebration for audiences of all ages.
Willoughby Theatre Company’s production of The Sound of Music is an uplifting celebration for audiences of all ages.

16/05/2023
Sydney Arts Guide
A BIG UNBRIDLED PRODUCTION BY WILLOUGHBY THEATRE CO
By David Kary

Similarly to Mary Poppins, and one year apart, the main character in THE SOUND OF MUSIC was a good natured nanny, in this case Maria, who took over the duties of looking after ‘difficult’ children in a dysfunctional house run by an dictatorial father, Captain von Trapp.

The classic musical is set in Austria in 1938 around the time of the takeover of the country by the Nazi regime. This is an important element in the musical as friends of the Captain exert more and more pressure on him to give his support to the regime but he remains defiant and in the end flees the country with his family.

Music is ‘the glue’ that binds everything in this musical. It is with her guitar that Maria first charms and wins over the von Trapp children. The Captain is angry with the more relaxed attitude that his children have since Maria took over and asks Maria to leave but changes his mind when he sees that Maria has taught his children to sing. At the climax. the von Trapp family make their escape, with Nazi officials in the audience, after performing in a music competition.

This current Willoughby Theatre Company revival, directed by Adam Haynes, fully and vividly captures the Sound of Music experience without you needing to pay top dollar for a hyped up, mainstream, commercial production.

The principal cast each give good performances.

Felicity Caldwell is great as the big hearted, mercurial Maria Rainer. Marcus James Hurley hits the right note as the tense and regimented retired naval captain Georg von Trapp.

Taryn-Lea Bright is just right as the sophisticated, dignified and very conservative Baroness Elsa Schraeder who thinks that she has snared the Captain in marriage, only to lose out when Maria returns to the family after going awol.

Clive Hobson gives an assured performance as the Captain’s close charming and high spirited friend, Max Detweller.

The supporting cast is, of-course, a cast of many. An impressive group of nuns were headed by Tisha B. Keleman who was great as Mother Abbess who showed off a big, strong voice that is used to great effect in the rousing ballad ‘Climb Every Mountain’. The nuns under Mother Abbess were each well played; Sister Bertha, played by Julia Brovedani, Sister Margeretta played by Julianne Horne, and Sister Sophia played by Georgia Kokkoris.

The kids playing the von Trapp children were cute and fantastic led by Abbey Thomas as sixteen year old Liesel who was enjoying her first tryst with the very pleasant telegram delivery boy, Rolf Gruber, well played by Matthew de Meyrick.

The rest of the cast played their part in making this Sound of Music is a special one.

My favourite scene from the show was the ‘So Long, Farewell’ song, and its reprise, which were just beautifully played.

Haynes’ creative team vividly created the world for the actors. Chief amongst them was Musical Director Callum Tolhurst-Close, who conducted a great, fifteen piece orchestra, Bob Dickason’s revolve set design was very effective, ExitLeft’s costumes were great, Janina Hamerlok’s choreography was faultless and Thomas French’s lighting was very effective.

A high note to end on. there is more than a bit of snobbery amongst some Sydney theatregoers. They will see productions by the main theatre companies and in the principal venues around Sydney.

It is their loss. This was, in every way, a big, full hearted, impressive production. The Willoughby Theatre Company’s production of THE SOUND OF MUSIC is playing the Concourse Theatre until Sunday 28 May 2023.
Haynes’ creative team vividly created the world for the actors.

10/10/2022
4th Wall Reviews
Willoughby Theatre Company: Mamma Mia!
By Daniel Conway

I think my relationship to ABBA is pretty indicative of most millennials, that is to say I had a parent who would blast ABBA Gold while cleaning the house or going on a car trip of any length of time. As a result of this near universal experience Mamma Mia, therefore, is a show that knows what it is there to do, leave you smiling, singing and thinking gosh, I really retained a lot of those lyrics by osmosis. Willoughby Theatre Company has done an amazing job of bringing this show to life.

This version of Mamma Mia was two years in the making, having suffered the wrath of COVID. This is a fact that I didn’t know before reading the program on the car ride home, however it really explains a lot. It explains the small details from the costuming to the props and to the staging. And it explains the obvious love of theatre that was emanating off that stage. As one of the many in the amateur theatre world who had shows taken away from us by COVID, it makes my heart happy to see this show succeed.

The production team lead by Declan Moore (Director), Amy Curtin (Choreographer) and Matthew Herne (Musical Director) should be so proud of what they have done. Sometimes it is hard to find a word for a show and the one I have settled on is ‘Glossy’.The show feels like a picture book with beautiful rich colours, utilising haze and other theatre effects at the right moments to make these 'beautiful' scenes. The set pieces are stunning and everything is moved mostly seamlessly, hats off to the work of Tess Bourguignon as stage manager for coordinating the set changes.Visuals aside, I can not express how beautiful the ensemble sounds. Hernes’ work is so on display at all times with the beautiful harmonies that uplift every song. There were moments where the leads, while doing a fantastic job on their own, were just elevated by the ensemble whose voices added depth and created a wall of sound worthy of ABBA. Curtins’ choreography was fun, cheeky and hit the right tone for this show.

The anchor of this show was the beautiful performances of Stephanie Edmonds and Karen Oliver as Sophie and Donna respectively. Edmonds delivers a performance that really embodies the youthful chaos that is Sophie. Her voice is stunning and she has a wonderful presence on stage. The relationship between Sophie and Donna feels lived in. As an audience member you have no doubt these two women mean everything to each other. Oliver is a leading lady. She makes it all look easy, like this isn’t the product of months of rehearsal, like she isn’t even acting. She is charming and engaging throughout the entirety of the show, but the second act is where she really shines. The back to back performances of “Slipping Through My Fingers” and “The Winner Takes It All” really show the depth of her skill, creating a genuine emotional connection between her performance and the material.

Janina Hamerlok and Tisha Kelemen are stand outs as Donnas’ Dynamos - Tanya and Rosie. Both of these women are just delightful to watch and make every scene they are on stage feel like a moment. From the moment these ladies step on the stage they are immediately entertaining and have a friendship that feels fully realised. It doesn’t matter if they are singing together, supporting Donna or rocking out in their own standout solos these women control the stage and thoroughly own it.

Not to be outdone by the powerhouse women, we have the three dads. Sam, Harry and Bill are played by Geoff Stone, Clive Hobson and Scott Kimpton and they do a great job of playing off each other to create really distinct characters. Stone plays the romantic lead and he brings a warm and kind energy to the role which makes his performance of "SOS" particularly earnest. Hobson as Harry is a delight, his voice is sweet and his performance made me smile. It was clear he was having fun, and that energy was infectious. Kimpton has a confidence and a physicality in his performance that really makes him shine and he has the funniest drop trou moment in the show (of which there are many). Rounding out the leading men is, of course, Blake Lovely as Sky. Lovely is charming and grounded as the supportive partner who is just head over heels in love.

This is an impressive show and an overall testament to the hard work and dedication of the entire cast and crew. It thoroughly earned its standing ovation on opening night, and then, not to be outdone, the encore had the audience singing and dancing in the aisles. Do yourself a favour and book a ticket.

I give this production 4.5 Wedding invitations from lost lovers out of 5.

https://www.the4thwallreviews.com/post/willoughby-theatre-company-mamma-mia-review-by-daniel-conway

The show feels like a picture book with beautiful rich colours, utilising haze and other theatre effects at the right moments to make these 'beautiful' scenes.

13/10/2022
Stage Whispers
MAMMA MIA!
By David Spicer

Music and lyrics by Benny Andersson and Björn Ulvaeus. Book by Catherine Johnson. Willoughby Theatre Company. Concourse Theatre, Chatswood. until October 8 to 23, 2022.
Occasionally Stage Whispers gets complaints for not mentioning the sound of a musical in our reviews.

So let me redress any past deficiencies by describing the extraordinary audio experience the Willoughby Theatre Company provided its audience during Mamma Mia!

The mixing of on-stage performers sometimes engaged in fierce choreography, pit singers, spare cast members in their own backstage ‘studio’ and a touch of electronic embellishments was at times as sharp as a highly produced album listened to with headphones.

Sound designer Andrew Crawford and sound mixer Craig Herbert deserved an ovation along with the musical director Matthew Herne for the waves of clarity they produced.

Companies staging this musical must compete with audience memories of the movie and three professional national tours.

An impressive set from Josh McIntosh including a pier, a motorised boat, double storey Greek island villas and a church was embellished by vivid costumes and colourful lighting from Sean Clarke that dazzled.

A large troupe of well drilled dancers kept the musical pumping. You don’t get onto the ensemble of the Willoughby Theatre Company unless you can really move.

Mamma Mia! is a popular musical, not just because of the ABBA hits but also because of the mixture of acting opportunities for young and older cast members.

The three candidate fathers in the musical comedy - Geoff Stone (Sam), Clive Hobson (Harry) and Scott Kimpton (Bill) - all had good acting and singing chops.

The mature female leads each took their chances to shine. Janina Hamerlok (Tanya) carved up the silliest song of the night, “Does Your Mother Know”, with a much younger infatuated muse Max Kendrick (Pepper).

(Tisha Keleman) Rosie showed plenty of spunk in “Take a Chance on Me” whilst Karen Oliver (Donna) soared with “The Winner Takes it All’.

The bride and groom to be, Stephanie Edmonds (Sophie) and Blake Lovely (Sky), were lovely indeed.

A big splash of colour, song and dance got the crowd on their feet during the finale.
The mixing of on-stage performers was at times as sharp as a highly produced album listened to with headphones!

15/12/2022
City Hub Sydney
MAMMA MIA!
By Lina Nafie

This month’s not-to-be-missed show is Mamma Mia! Willoughby Theatre Company brings this party to Sydney for our greatest pleasure, and it is not disappointing at all.

“Just the fun show we all need to see out 2022,” the director Declan Moore said.

Having been a performer in over 100 productions and directed around 90 shows, Moore knows how to dazzle an audience. This jukebox party musical makes you want to stand up and dance with the actors and Moore, accompanied by his team, do not fail to bring this sentiment into our hearts.

Between all the mind-blowing performances, the fantastic dance numbers and the hilarious comedy moments is a mix of love stories, sweet family relationships and friendships. Astonishing dance numbers and funny moments will leave you laughing in tears – you will, for sure, love at least one of the musical numbers.

Taking place in Greece, the story begins with Sophie Sheridan: a 20-year-old who seeks to unveil one last mystery before tying the knot with her fiancé, Sky – finding out who her father is. After reading her mum, Donna’s diary she finds out that three men could potentially be her father: Bill, Harry and Sam. She then makes the insane decision to secretly invite the three of them to the wedding.

All the songs featured in the show are from the beloved Swedish band Abba.

Choreographer Amy Curtin and Musical Director Matthew Herne bring to life favourite ABBA songs on stage including “Money Money Money” and “Lay all your love on Me” which are enchanting.

The voices of Karen Oliver who plays Donna Sheridan and Stephanie Edmonds as Sophie Sheridan are ringing and penetrating. Their beautiful performances are deeply touching and a tribute to the Swedish band.

The rest of the cast do a fantastic job with musical numbers that both carry you away and are humorous.

Moore, Curtin and Herne’s work is terrific, as is that of the entire cast.

This show is definitely a must to watch, especially on bad rainy days. You are guaranteed to leave the theatre with a huge smile on your face, feeling extremely joyful and with songs filling your head.
Astonishing dance numbers and funny moments will leave you laughing in tears!

10/10/2022
Theatre Travels
Mamma Mia! at the Concourse, Chatswood
By Lucy Ross

After three years and two postponements, it is such a delight that we can finally see Willoughby’s production of Mamma Mia!

Mamma Mia! is a jukebox musical featuring the music of ABBA with book written by playwright Catherine Johnson, set in the fictional small Greek Island of Kalokari.

We are well and truly transported to this world with the impressive professional level set by Joshua McIntosh and lively costuming of Racheal Adams.

The story follows 20-year-old Sophie played by Stephanie Edmonds, who is planning to get married but still doesn’t know who her father is. Unbeknownst to her mother Donna, portrayed by Karen Oliver, Sophie has narrowed her options down to three men – Sam Carmichael (Geoff Stone), Bill Austin (Scott Kimpton) & Harry Bright (Clive Hobson). All three are invited to the wedding in secret, with hope that Sophie will ascertain who her father is and have one of them give her away. However, not unlike the Greek comedy classics… it doesn’t turn out to be that simple.

Chaos ensues as their presence becomes known by Donna and the men realise the purpose of their invitations.

Willoughby Theatre Company is notorious for delivering high quality big scale productions and Mamma Mia! is no exception.

Be prepared for flying sets and glitter cannons to liven up your theatre experience.

There were one or two technical hiccups and often times the backstage singers were not in time with the onstage singers.
But it is valuable to keep in mind that this was their opening night and these things can certainly be tightened up as the run goes along.

The principal cast were fairly strong across the board. Stephanie Edmonds as Sophie had a unique interpretation of her character and her delivery was often charming and quirky. Karen Oliver as Donna delivered an impressive vocal performance, almost blowing the roof off with ‘The Winner Takes It All’.

The potential fathers served their roles well, all delivering contrasting performances. Stone as Sam, remained stoic and authentic, Kimpton as Bill is your recognizable Aussie bloke and Hobson as Harry, a bumbling Englishman with a colourful past.

You cannot help but love Donna’s friends Tanya and Rosie, played by Janina Hamerlok and Tisha Kelemen respectively. Each time one or both of these performers entered the stage they absolutely stole the show. Their joy for performing naturally shone through with every line spoken or sung, an energy that naturally draws the eye. Additionally, they certainly have a solid grasp of their comedy which was an absolute joy to watch amongst the chaos of the other plotlines.

The ensemble danced well and enthusiastically with the choreography given, many of them clearly loving every second they spent on stage which was fabulous to watch.

For future productions, it would be wise for the company to consider the representation of LGBTQIA+ themes and their portrayal for the audience. Seeing more diverse casts and more openly LGBTQIA+ characters included in ensembles is important and fantastic to see. However, it is equally important that we are not seeing stereotypical or tokenistic portrayals as we move into a more inclusive times in life and in theatre.

Yes, Mamma Mia! is a jukebox musical - and with that comes all your favourite ABBA hits, which are, at times, squeezed into the storyline rather precariously.
But this show has so much heart – the famous songs are not used as gimmicks, they are genuinely inserted to try and tell the story.

Unlike other productions, Willoughby also chooses to give a nod or two to the original composers as a way of saying “Thank you for the music” which was truly a delight.

If you love ABBA, a lively song and dance or a modern day Greek comedy – you won’t want to miss this one!
Willoughby Theatre Company is notorious for delivering high quality big scale productions and Mamma Mia! is no exception.

18/05/2021
Theatre Travels

Review by Lily Stokes

Stephan Elliot’s The Adventures of Priscilla, Queen of the Desert first premiered at the Cannes film festival on 15th May 1994. Hailed as a ground-breaking piece of queer Australian cinema, Priscilla broke the mould of AIDS-centric LGBT+ narratives of the late 20th century to deliver a truly unique, heroic and inspiring story from Australia’s drag community. Twenty-seven years later, the spirit of Priscilla lives on in one of musical theatre’s shiniest and sparkly shows. As Australian drag becomes more popularised and accessible (after the recent premiere of Rupaul’s Drag Race: Down Under), Willoughby Theatre Company’s production of Priscilla is a timely reminder of the enchanting power of live drag, and a noble homage to Sydney’s drag herstory.

Priscilla recounts the midlife crisis of Tick - or Mitzi (Brent Dolahenty) - who yearns to escape the Sydney drag scene after years of thankless work and compounding criticism. Tick’s estranged “wife” Marion (Taryn-Lea Bright) encourages him to visit her in Alice Springs to stage a drag show at the local casino - and reunite with their son, Benjamin (Mitch Perry). A reluctant yet hopeful Tick assembles life-long friend Bernadette (Glenn Morris) and fellow performer Adam - or Felicia (Tom Gustard) - to glamour-up and travel to the red-centre in a rundown bus they baptise Priscilla, Queen of the Desert. The three queens venture through“the middle of woop woop”, encountering clueless tourists, small-minded locals and unapologetic homophobes to live-out their Australian fever-dream of being “cock[s] in frock[s] on a rock”.

First and foremost, I must congratulate Director Adam Haynes for acquiring such a diverse and talented ensemble to breathe life into Priscilla. Each leading role was cast perfectly, supported by an overwhelmingly energetic, colourful and capable chorus. Every musical number was almost perfectly polished, with particularly outstanding dance performances in ‘Colour My World’, ‘Go West’ and ‘Shake Your Groove Thing’ (thanks to the consciously camp choreography of Janina Hamerlok). Dazzling visions of disco, glitz and glamour were fully-realised across all elements of production, including James Wallis’ lighting design, Hannah Trenaman’s wigs and makeup, Wendy Walker’s props and, of course, the incredible set by Josh McIntosh. A special congratulations goes to McIntosh for designing and building the pièce de résistance - Priscilla, the big pink bus. It’s worth noting that this bus was made especially for this production, weighing only 350kg and boasting working head and taillights, conventional bi-fold bus doors and removable side panels. It made an unforgettable centrepiece.

Possibly the most breathtaking element of this production was the amazing costumes, which were sourced from Origin Theatrical’s international tour of Priscilla. Originally designed by Tim Chappel and Lizzy Gardiner, and then coordinated by WTC’s Joy Sweeney, the costumes were world-class and yet so refreshingly Australian. Particular favourites of mine were featured in ‘Macarthur Park’ (“someone left the cake out in the rain”) - a beautiful array of freckled cupcakes, lamingtons and pavlovas graced the stage, complete with light-up candle headpieces. The flurry of sparkles, colours and lights was thrilling to witness.

The only thing more dazzling than the costumes were the performances from the talent in them. Dolahenty presented an earnest and personable Tick/Mitzi, showcasing the caramel tones of his baritone register alongside a well-developed belt. Gustard as Adam/Felicia was equally triumphant, moving through crass and cockiness to vulnerability after a violently homophobic encounter. Lastly, Morris was outstanding as Bernadette. He encapsulated a refined femininity that stood apart from the other queens - which is unspeakably important, considering Bernadette is a transgendered (rather than cross-dressing) character. This would have been quite difficult in a musical theatre setting, as the temptation to ‘camp-up’ or exaggerate wouldn’t be easy to resist. Instead, Morris’s Berni was maternal and caring with a stinging tail, delivering her zingy one-liners effortlessly.

The talent in supporting roles was also outstanding - namely, the three ‘Divas’ as the omnipresent muses of drag. Karen Oliver’s exquisite ‘Sempre Libra’, Jessica Zamprogno’s soulful ‘Say A Little Prayer’ and Nikole Music’s funky ‘Girls Just Wanna Have Fun’ were absolute highlights, and together, their harmonies were A++ (a testament to the talent and professionalism of these three). Geoff Stone as country-bumpkin Bob was characterised perfectly, juxtaposed in delightful chemistry with Morris’ Berni. Sarah Dolan’s Shirley was HILARIOUS, and had me laugh-crying in my seat. Lastly, Susana Downes’ athletic portrayal of Cynthia was down-right impressive, and Jerome Studdy’s alluring Miss Understanding certainly set the bar for the talent on stage. I wish I could list the ensemble one-by-one and congratulate them - feeding off the energy of a masked audience must have been difficult, but the ensemble kept the energy up and had everyone beaming pearly-whites behind their masks. You wouldn’t know, but we were all lip syncing along!

Just as a final note, I’d like to congratulate musical director Jeremy Curtin and the orchestra, who built an energetic and stylistic musical foundation for the production. The transitions between recordings and live music were particularly well managed, especially after the Alice Springs performing montage. Admittedly, I was confused as to why recordings were used at all when a live pit was available (specifically in ‘A Fine Romance’), but I realise this is a reference to an ongoing debate regarding lip syncing versus live performance in drag (or Bernadette and Les Girls versus Felicia). It’s worth noting that I’m also not a big fan of jukebox musicals, but this score fit so perfectly with the narrative that to exclude any of the numbers would have been criminal.

I could write more about queer-coding throughout the production (the Tinkie Winkie road sign, an appearance by the village people, mimicry between the Divas and the queens) but I’m sure Director Adam Haynes is aware of his genius attention to detail. Performances by the ensemble, the production design and an array of small but significant details made Willoughby Theatre Company’s production of Priscilla Queen of the Desert: The Musical an absolute triumph. I encourage musical theatre buffs, drag fanatics and just about anyone else to see Willoughby Theatre Company shake their groove thing before leaving the Concourse Theatre on May 30th.
Performances by the ensemble, the production design and an array of small but significant details made this show an absolute triumph.

18/05/2021
Review publication
Great show - highly recommended
By James Russell

Book: Stephan Elliott & Alan Scott. Music & Lyrics: Various. Willoughby Theatre Company. Concourse Theatre, Chatswood. May 15th-30th 2021.
Willoughby Theatre Co’s return to the stage post Covid opened with all the glitter and sparkle you would expect, then more, from this stage musical version of iconic film. As the theatre lights went down and the welcome announcement was delivered, we knew we were going to be having a fun evening. Then the glitter cannon went off over the audience.

The musical has less of a story-line than the movie and is a more juke box style of show with hit numbers like “It’s Raining Men”, “What’s Love Got To Do With It”, “Boogie Wonderland” and “Always On My Mind”, keeping you highly entertained, as you are amazed at the spectacle the cast and crew produced. The lovable Drag Queen characters of Tick (Mitzi), Bernadette and Adam (Felicia) were all brought to the stage colourfully, though lacking the background insights into each character that the movie provides.

One element that amazed me and anyone that I talked to after the show were the sets and costumes, both for the lead actors and ensemble roles. Leading the set pieces/ props was that of Priscilla - the bus. It became a main set piece and Adam Haynes’ direction of actors on its use on stage was brilliant, especially the way it became painted mid song during “Colour My World” with ensemble in costumes with paint brush head pieces. The headpieces and wigs were a sight to be seen, created tmany WOW moments that just kept coming throughout the show. The costume and set team, headed by Joy and Tom Sweeney and Josh McIntosh, have to be commended for their work here, with the hiring of certain pieces taking this show from an amateur look to a professional one. The finale deserved its ovation, with the range of costumes on show and the staging really working a treat.

Casting this show isn’t you’re usual musical casting and to find as many lead males and ensemble males that could wear the costumes and heels and dance in them was a credit to all involved. This was highlighted by the three leads - Brent Dolahenty as Tick, Glenn Morris as Bernadette and Tom Gustard as Adam – who were incredible in their own performances and as a group vocally. Their chemistry and energy filled the stage. Dolahenty played both the comedy and dramatic elements of the role to perfection and shone in all dance numbers. Morris brought a real fun maturity to the trio; vocally strong, he had a believable connection with the character Bob, played with lots of heart by Geoff Stone.

Gustard was a big stand out as the youngest of the three, hamming it up at certain stages, then handling the emotional scenes superbly.

The trio of Divas - Nikole Music, Jessica Zamprogno and Karen Oliver - brought an added element to the show, shining in many of the numbers and also with backing vocals, whilst all looked stunning in their many changing outfits. Geoff Stone as the lovable Bob, Taryn-Lea Bright as Marion and Jerome Study as the announcer, Miss Understanding, all had some wonderful moments in their limited stage time. A special mention should also go to Mitch Perry as Tick and Marion’s son Benj, who had great stage presence.

The large ensemble excelled in the choreography and were vocally very powerful.

The production team that brought this show together have been working on it since 2019, riding the lows of Covid and having to postpone the show a year. Their vision for the show has been a collective masterpiece and all but a few elements worked on opening night.

Director Adam Haynes’ staging of his large cast complemented the set and costumes and has helped guide his leads to give engaging performances. MD Jeremy Curtin and orchestra have brought alive all the hit songs of the 70s and 80s, the cast sounding well-rehearsed and full of energy on opening night.

Janina Hamerlok’s Chorey made all the songs pop and looked amazing in both smaller numbers and full cast production numbers. Choreography highlights were Felicia’s routine with the boys in leather for “Venus” and “I Will Survive”, where all the queens were wearing gumby outfits.

There were some sound issues on opening night and drops in and out from body mic’s, but the lighting effects all looked fantastic and helped highlight themes and moments throughout the show.

Priscilla The Musical is exactly what the Sydney theatre scene has needed post Covid and you can’t help but smile and cheer and the spectacle this show provides. Willoughby Theatre Co has set a standard of how this show should be done, and hopefully we will see more productions of it in the future.
WTC's Priscilla is exactly what the Sydney theatre scene has needed post Covid and you can’t help but smile and cheer and the spectacle this show provides!

18/05/2021
Sydney Arts Guide
A RETRO ROMP PAR EXCELLENCE
This is the first community theatre production of PRISCILLA to make it to the stage in New South Wales. It has been brought to the stage by the Willoughby Theatre Company, one of the state’s finest theatre companies. The Company has been around since 1957 and has built up a reputation for putting on great music theatre. The Company can now count PRISCILLA as being one of its finest.

The main character in PRISCILLA is Tick, a Sydney based drag queen. Earlier in his life he was a straight man married to a wife called Marion.

One day, out of the blue, he receives a call from his ex, Marion. Marion invites him to come up north to a town called Alice to perform his drag act at Lasseters Hotel Casino Resort where she is the Entertainment Manager. Marion has seen his drag act and loves it. Her main motivation, however, is for Anthony to spend time with his eight year old son Benjamin.

Tick’s life as the best drag queen in Sydney is already too busy. It might just be the time for a bit of an adventure. A month in Alice doing his shtick didn’t sound too harsh. He goes on a recruiting drive, and enlists two of his friends, Bernadette, a transgender woman who has recently lost his partner, and a younger drag queen Adam to join him in his adventure.

The trio set out on the long trip up north on a large tour bus which Adam christens ‘Priscilla, Queen Of The Desert’.

Above all, PRISCILLA is a great spectacle of sight and sound, and this is exactly what director Adam Haynes delivers with his production.

Musical Director Jeremy Curtin and his orchestra sounded great. Josh McIntosh’s lavish sets used the space well.

A multi award winning Queensland McIntosh developed and constructed the famous, emblematic pink bus. Using 200 metres of steel in the frame, Josh built the bus as lightweight as possible to make sure that it was easy to move around by the cast during and between scenes. The final bus weighed only 350kgs.

In something of a coup Willoughby Theatre Company were able to use all the costumes from Origin Theatrical Costumes, the costumes that were used in the international tour of the show. The stats on the costumes are incredible; the show features over 1,000 outrageous costumes and 200 amazing head-dresses!

Choreographer Janina Hamerlok did a good job ensuring that everyone made the right moves. Hamerlok’s program note : “I have aimed to inject every possible daggy disco move in her repertoire into the show. The result – a hilarious, energetic, extravagant, crazy, sexy, sparkle filled retro romp.” Exactly!

The show’s soundtrack features some twenty three pop and disco classic tunes. Everyone will doubtless have their favourites. I loved the rousing, foot stomping version of John Denver’s ‘Country Boy’, and the way over the top version of American composer Jimmy Webb’s 1967 way over the top, absolutely epic break up song ‘MacArthur Park’. The costumes for this sequence were stunning. This sequence was, in itself, worth the price of admission.

The show’s three leads were each triple threats.

Brent Dolahenty played Tick whose journey to feeling more fulfilled in his career and in his bonding with his eight year old son Benjamin is the show’s main journey. Dolahenty plays his relatively uncomplicated character well.

Glenn Morris does a fine job playing probably the show’s most sympathetic character, the soft hearted Bernadette.

Tom Gustard performed well as the effeminate, flighty and rather obnoxious Adam (Felicia).

Jerome Studdy plays a fabulous drag queen with a penchant for Tina Turner dance numbers with the clever name, Miss Understanding.

The three Divas who spend much of their time hanging suspended from the top were superb. They were Nikole Music, Jessica Zamprogno and Karen Oliver.

Taryn-Lea Bright gave a good performance as Tick’s warm hearted, accepting ex wife, Marion.

Matt Gavran gave a fine performance as the tough miner bloke Frank who takes a shine to the travelling troupe, and in particular one Bernadette. Gavran was convincing playing a part much older than his age.

Reilly Morrison did a good job playing gregarious young indigenous bloke Jimmy who befriends the troupe.

Oliver Roach impressed in the role of the graceful and glamorous Farrah.

Sarah Dolan showed a good light, comic touch as the hardened outback barmaid/waitress, Shirley.

Susana Downes was equally sexy and comic as Bob’s highly strung and very inappropriate Filipino wife, Cynthia.

Jackson Parker was convincing in the role of Tick’s accepting, non judgmental son, Benjamin.

A talented ensemble cast, comprising some twenty nine performers, played roles ranging from late teens to forty year olds. Quite the feat!

PRISCILLA does go back in time a bit. The film came out in 1984. The musical adaptation didn’t premiere till 2006. It has taken till 2021 for it to receive its debut non professional production. And in the hands of the Willoughby Theatre Company it is a winner and just great fun!

Willoughby Theatre Company’s production of PRISCILLA QUEEN OF THE DESERT THE MUSICAL plays at The Concourse, Chatswood until Sunday May 30, 2021.
...in the hands of the Willoughby Theatre Company it is a winner and just great fun!

20/10/2019
Stage Whispers

By Peter Novakovich

Music: Jerry Bock. Lyrics: Sheldon Harnick. Book: Joseph Stein. Director: Andrew Benson. Musical Director: Matthew Herne. Choreographer: Steph Edmonds. Willoughby Theatre Company. The Concourse Willoughby. October 18 – 27, 2019.
Willoughby’s Fiddler on the Roof is all life, joy and heart. There’s a zest and warmth in this show that makes it feel fresh and engaging, instead of the respected museum piece it’s usually treated as. After years of watching (enduring?) too many Fiddlers I prepared myself for a plodding ordeal. How wrong I was. The Willoughby Fiddler had me wanting to move to a Russian village and become Jewish.

Director Andrew Benson, MD Matt Herne, and choreographer Steph Edmonds have indeed succeeded in their mission to create a “bold and energetic production”. Nothing was cut from the script and score, yet the show breezed along. Yes, the last part of Act 2 does decelerate, but that’s the script and structure of the show itself. Playing the final scenes too fast would rob the show of its meaning and effect. Even though I knew the show well, watching this version made me see and hear it in a new and better light.

The orchestra’s excellent playing made us feel like we were in a shtetl circa 1914. The choreography was authentic to the various styles of the time and place, especially in the wedding and kozachok scenes. Moreover, although the dancing was together and had energy, the cast didn’t dance with the robotic precision of concert hall clones, but like villagers.

And how lovely to see a set and props that didn’t fight with the cast to be the stars of the show: it reminds us that true spectacle is found in the performer, not the background.

All the cast owned their roles and were just right for each part. I’ve seen many actors playing Tevye who just copy Topol or Hayes Gordon, so it was refreshing seeing Dennis Clements be his own Tevye, superbly convincing and making you forget about past versions. His “If I Were A Rich Man” is a highlight (mainly because he deviates slightly from the standard performance and the risks pay off), but I was more moved by his rendition of the “Chavelah”Sequence and duet with his wife Golde in “Do You Love Me?”

Speaking of Golde, Belinda Delaney brought a lovely dignity and passion to the role, and her abovementioned duet was a highlight. Her playing of the scene where Golde reacts to hearing of her daughter being wed outside their faith is priceless: anything less would make it come across as soap opera. You really believed Tevye and Golde were wed to each other for 25 years. Tevye’s five daughters, played by Imogen Abba (Tzeitel), Dylan Haley (Hodel), Mikaela Dane (Chava), Katie McPherson (Shprintze) and Chloe McDonell (Bielke), totally charmed us with their portrayal of dutiful-but-questioning daughters, and their “Matchmaker, Matchmaker” wass a delight. Having worked with Dylan Haley forgive my bias, but her rendition of “Far From the Home I Love” was possibly the best and most haunting version of this song I’ve heard.

The suitors - Luke Holland (Motel), Matt Hourigan (Perchik), Aleksander Justin (Fyedka) - all had the right demeanour and voices for their respective roles. When matched with their respective brides each set seemed a believable couple. Aleksander Justin showed off a major set of pipes as the Cossack soloist in “L’Chaim”. Motel’s and Perchik’s featured songs are known more for their conversational tone than melody, yet these actors breathed life into these tunes and made them more musical.

Barbara Hannan’s matchmaker Yente is delicious. She was no Babushka caricature: there’s a shade of darkness here under the benevolent glow. Her furs at show’s end said it all. And speaking of delicious, Stephanie Georgesen’s Grandma Tzeitel and Chloe Angel’s Fruma Sarah in the Dream Sequence are show stoppers, as is the whole sequence itself (good to see Willoughby getting their money back on the Wicked harness). Clive Hobson as jilted butcher Lazar Wolf brought a dimension to the role that made the character sympathetic.

And this is another one of these choruses that are simply brilliant. From Mitch Bryson’s Constable and Phil Lucas’s Mordcha to the one-liners and non-speaking roles, it felt like everyone was a villager and we were watching village life. There was a strength and sincerity from every performer, as though they were committed to telling the story and wanting to entertain us.

There were a few hiccups on opening night but nothing major: a microphone died, one character rushed their lines on their entrance, the background chat in the inn became a bit too loud, two bottles at the wedding defied the laws of gravity, an accent wavered once or twice: nothing that can’t be fixed now the show has had an audience. Special mention must be made of conductor Matt Herne and that orchestra: more than once some of the cast flubbed a vocal cue. At every flub Matt and the orchestra covered it without sounding obvious: you had to know the score intimately to know that “something” had happened.

The most powerful thing in this show for me was not the showy numbers or humour (excellent as they were). It was the small, unadorned, human things that had the big impact, examples: the way Golde kisses Tevye after their duet, the way Hodel sits in silhouette after saying goodbye at the station, Tevye’s final words to Chava as they leave Anatevka, Tevye and family’s final exit. The show was full of these simple gestures that spoke so much, and more than once brought on some misty eyes.

Brilliant.
The show was full of these simple gestures that spoke so much, and more than once brought on some misty eyes.

21/10/2019
Theatre Travels

By Abbie Gallagher

While a staple for theatre societies, classic musicals can be tricky territory. There’s a higher chance of an audience, but you also run the risk of a dated script and a production that can be stale, even offensive (I’ll never forget the amateur production of South Pacific I witnessed that decided blackface was a good idea. Seriously. Of all the shows, you chose that one for blackface? Did you even read the script?!?).

Thankfully, Willoughby Theatre Company’s production of Fiddler On The Roof is none of those things. On the contrary, it’s quite possibly the best amateur production I have ever seen.
Set in the Jewish village of Anatevka in 1905, Fiddler on the Roof takes place on the cusp of the Russian revolution. Local milkman Tevye struggles to maintain his proud Jewish traditions in the face of a changing world, culminating in his three oldest daughters wishing to marry for love.
Fiddler On The Roof’s success rises and falls on the casting of protagonist Tevye, one of the most demanding roles in musical theatre. Director Andrew Benson struck gold with the casting of Dennis Clements. He’s a marvel on stage, maintaining the perfect energy level while still portraying the struggle, humour and, ultimately, heartbreak of this loveable man. Alongside him is Belinda Delaney, giving plenty of sass as Tevye’s long-suffering wife Golde. Imogen Abba, Dylan Hayley and Mikaela Dane are strong yet beautifully vulnerable as Tevye’s daughters Tzeitel, Hodel and Chava respectively. While there are some weaker links in the supporting cast in terms of accents and characterisation, Matt Hourigan hits just the right blend of passion and mystery in his portrayal of Perchik, while Aleksander Justin’s Fyedka was a favourite. His beautiful tenor voice soars above the audience every time he’s onstage, and he’s also a very fine actor. The village is rounded out with a fantastic ensemble of colourful personalities, who never miss a beat.

Music Director Matt Herne deserves special mention for his excellent work. While Fiddler on the Roof’s score is rightly treasured, it’s not easy, full of complex melodies and a decent sized band. On top of that, with over 50 voices, this could have been a recipe for disaster. Thankfully, with his obvious talent, the music is a joy to listen to, with a very strong orchestra which crucially never overpowers the vocals. Of course, this is also down to very good sound mixing!

Finally, choreographer Stephanie Edmonds pulled off some truly spectacular choreography here. Though the opening number Tradition was a bit shaky, presumably from opening night jitters, the rest of the show did not disappoint. From the party atmosphere in To Life, to a hilarious dream sequence in Tevye’s Dream complete with wire work, the dancing will have jaws dropping in amazement. An impressive set draws the audience right into the world, and the use of lighting clearly establishes Tevye’s private thoughts from the action, climaxing in a wrenching scene where Tevye turns away his daughter Chava through an inspired utilisation of the scrim.
Andrew Benson is to be applauded for his delicate direction. With period pieces, it’s easy to forget the people of the era were living, breathing individuals. Fiddler on the Roof, and particularly this incarnation of it, humanises the people of the past and gives a fair few laughs along the way. Because when you strip the story right back, it’s really about ordinary people living out their lives during a very precarious time in history.

You owe it to yourself to see this show. It’s absolutely brilliant and you’ll be reminded why this show is a classic in the first place. Willoughby’s production is of the highest quality. You’d be forgiven for forgetting this isn’t a professional venture, but it might as well be. Mazel tov to all involved.
Willoughby’s production is of the highest quality - you’d be forgiven for forgetting this isn’t a professional venture, but it might as well be.

20/10/2019
Sydney Arts Guide

By Lynne Lancaster

Welcome to Anatevka .

Willoughby Theatre Company have brought us a magnificent production of this classic much loved musical . Directed by Andrew Beson , it was streamlined and most effectively staged , some parts of the show rather minimally , others with the various parts of the set that slid in/out/unfolded .

The cast was terrific (there are over 50 members of the ensemble) led superbly by Dennis Clements as Tevye.
While the show is now over half a century old the issues surrounding the story of a Jewish community in pre-revolutionary Russia are still vitally relevant today – the plight of refugees, enforced displacement and racism , and questioning one’s faith among others.

With its main character of Tevye the village milkman, FIDDLER ON THE ROOF asks why do innocent people suffer and depicts both the good and bad in life – we see how poverty and persecution (the rumours of pogroms, the intrusion and destruction at the wedding and all the people being driven from the village) are contrasted with love ( the weddings , Now I have everything ) and happiness.
New ideas as proposed by Karl Marx, Sigmund Freud and Albert Einstein are circulating and the world as Tevye knows it, overshadowed by chaos and war , is in turmoil and constantly changing. . Will Tevye and his family be able to adapt? Tevye is also shown as questioning his faith and being cold and implacable when he disowns his daughter Chava for marrying a gentile.
Act I , while rather long , incorporates some of the shows best-known songs including the exuberant Tradition, three of the daughter’s Matchmaker, the buoyant , show stopping If I Were a Rich Man and the haunting Sunrise, Sunset. In the shorter Act II the mood darkens noticeably as the community we have joined is unwillingly dispersed . Musically at times the show could be regarded as operatic, at other times perhaps liturgical (eg the beautiful celebration of the Sabbath prayer).

Step Edmonds choreography, based on that of Jerome Robbins , was tightly , crisply performed. It included circle dances, some Russian folk dance steps , traditional Jewish dances and social dances of the period and some showbiz/Broadway style moments.See if you can spot the allusions to West Side Story!
Dennis Clements as Tevye the milkman, who acts as our narrator and Everyman was fabulous , charismatic and captivating , performing with great delight . His inspired daydreaming If I Were A Rich Man stops the show. A leader of the community, he is an affectionate but rigorous husband and father, a humble yet honourable man embroiled in unexpected turmoil beyond his control. He also has a significant relationship with his God, talking to Him and at times questioning his (Tevye’s) faith.
As Tevye’s wife Golde Belinda Delaney was an impressive, respected tender matriarch delivering a strong performance and in terrific voice.
Their Do You Love Me in Act 2 was tender hesitant and delightful. , while The Dream in Act 1 with the rather terrifying Grandma Tzeitel looming and the ghost like ensemble was terrifically done.
Luke Holland was most engaging as Motel, the mild-mannered tailor who introduces a sewing machine to the village – then the latest in modern technology- and has the elated Miracle of Miracles to sing.

Imogen Abba (Tzeitel), Dylan Hayley (Hodel) and Mikaela Dane (Chava) as well as Katie McPherson (Shprintze) and Chloe McDonell (Bielke) gave impressive performances as the loving but determined to lead their own lives daughters and were thorough and eloquent throughout , with Hayley spirited and determined in Far From the Home I Love..The three would be suitors – Luke Holland (Motel), Matt Hourigan (Perchik), Aleksander Justin (Fyedka) – were all most effective in their roles and the chemistry between the various couples appeared convincing.. As the affluent village butcher Lazar Wolfe , who seeks a wife Clive Hobson was most distinguished.

Barbara Hannan’s matchmaker Yente was finely nuanced , we see how resilient she is . While she is generous and compassionate there is also a hidden, possibly cloudy side to her.
A most impressive version of this much loved musical now regarded as a classic.

https://theconcourse.com.au/fiddler-on-the-roof/
Willoughby Theatre Company’s FIDDLER ON THE ROOF runs at The Concourse Chatswood October 18 – 27, 2019
A most impressive version of this much loved musical now regarded as a classic.