Phantom of the Opera at Parramatta

An excellent production here's what I said for Sydney Arts Guide http://www.sydneyartsguide.com.au/the-phantom-of-the-opera-at-the-parramatta-riverside/THE PHANTOM OF THE OPERA , Lloyd-Webber’s musical based on the French novel by Gaston Leroux , opened in 1986 in London. By 2011 it had been seen by over 130 million people in 145 cities in 27 countries, and it is now one of the world’s most popular musicals. Most of the performances of this season at Parramatta are extremely heavily booked, if not already sold out. The main plot is set in the iconic building of the Paris Opera – from its dizzying heights to its mysterious subterranean lake- and concern a beautiful soprano, Christine Daaé, who becomes the obsession of a mysterious, disfigured musical genius, Erik, AKA the sinister Opera Ghost (the Phantom of the Opera) who is feared by all. Packemin’s current production of is tremendous. Lush, lavish, opulent and romantic this is a splendid version of Andrew Lloyd Webber’s now classic musical. Directed by Neil Gooding it pulls out all the stops and is bold and colourful in parts ( eg ‘Masquerade ‘, ‘The Point Of No Return ‘), powerful and passionate in others. This is a faithful rendition of the visually sumptuous musical we know and love, from the standard ‘Really Useful‘ production with the boat, masses of dry ice, pyrotechnics, the mysterious mirror, the plant like designs for the organ etc all magnificently done and musically and vocally terrific. The show has a HUGE cast, spectacular costumes and some tremendous special effects. Everyone only just fits onstage for the powerful Act Two opening ‘Masquerade’ and the superb costumes for which are dazzling . Gooding has a terrific cast and tech crew and uses them to great advantage. There is fine ensemble work , the supporting roles are more than handled capably and the leads are splendid. The major special effect of the sparking chandelier is terrifically handled. Under the dynamic, energetic baton of maestro Peter Hayward the orchestra gave a rich, luscious rendition of the sweeping, romantic yet sometimes difficult and spiky score. In this version the Phantom is perhaps slightly younger than usual, played far more as a romantic lead. Ben Mingay (‘Wonderland‘, ‘Packed to the Rafters‘) is strong and dynamic, channeling his inner Bryn Terfel – he has perhaps a slightly darker, caramel voice than usual. He is tremendous, vigorous, commanding, elegant and sinister. His ’Music of the Night’ is captivating and gloriously seductive. Our heroine, dark haired , dynamic Erin Clare was absolutely terrific as Christine Daae with her sparkling coloratura soprano voice. She was charming in Act 1 (‘Think of Me’), tremulous when falling unexpectedly in love with Raoul ( ‘That’s All I Ask of You‘ ) and brings the house down with her anguished, soaring rendition of ‘Wishing You Were Somehow Here Again’ mourning her father and torn between Raoul and the Phantom. Her ‘The Point of No Return’ was slinky and hypnotic. (Like almost all of us she succumbs to the Phantom’s mesmerizing ‘Music of the Night’). Raoul, Comte de Chagny, our earnest lovestruck young hero was terrifically played by Joshua Keane who has a totally charming baritone and boyish good looks. He was strong, supportive and comforting of Christine, dashing, gallant and defiant when facing the Phantom. His duets with Christine were marvellous. Theirs was a most uneasy eternal triangle. Johanna Allen has much fun wickedly hogging the limelight as Carlotta Giudicelli, the reigning temperamental, scheming diva of the Opera, Christine’s rival who is just possibly past it and overblown, but with a splendid voice and stunning costumes. Claudio Scaramella has a great time supporting her as the egotistical Pavarotti like archetypical demanding leading tenor Ubaldo Piangi. Rather Intimidating Madame Giry, in stern black was excellently performed by Michelle Lansdown, and her up and coming dancer daughter Meg was delightfully played by Kelsi Boyden. It is interesting to note that in this production both Christine and Meg are dark haired . Mention must also be made of the two new managers of the Theatre Christopher Hamilton as the ultra elegant Giles Andre and Gavin Brightwell as Richard Firman, who driven to distraction by the mysterious , demanding Opera Ghost. This was an epic, sweeping love story, a dazzling, slick, sumptuous performance. Running time 2 hours 30 minutes (approx) including interval. THE PHANTOM OF THE OPERA runs at Riverside Theatre Parramatta 6-21 February 2015. Music: Andrew Lloyd Webber Lyrics: Charles Hart additional lyrics Richard Stilgoe Book: Richard Stilgoe & Andrew Lloyd Webber Producer/Director: Neil Gooding Musical Director: Peter Hayward Choreographer: Camilla Jakimowicz Lighting designer: Sean Clarke CAST The Phantom Ben Mingay Christine Daae Erin Clare Carlotta Giudicelli Johanna Allen Raoul Vicomte de Changny Joshua Keane Ubaldo Piangi Claudio Sgaramella Monsieur Andre Christopher Hamilton Monsiueur Firmin Gavin Brightgwell Madame Giry Michelle Lansdown Meg Giry Kelsi Boyden For more information about The Phantom of the Opera, visit http://riversideparramatta.com.au/show/the-phantom-of-the-opera/

Royal Ballet Alice in Wonderland

An unusual work here's my Sydney Arts Guide review http://www.sydneyartsguide.com.au/palace-opera-ballet-royal-ballets-the-royal-ballet-alice-in-wonderland/ Instead of a traditional Nutcracker this year we are treated to a revival by the Royal Ballet of Christopher Wheeldon’s ALICE IN WONDERLAND first seen in 2011. Whilst perhaps a trifle overlong and unwieldy, this work is visually stunning with some fabulous theatrical effects, dazzling dancing, and magnificent choreography. There are perhaps hints and allusions to the Nutcracker in certain parts of Wheeldon’s choreography. Joby Talbot’s glittering,wonderful score is full of glissando mood swings and snazzy character expression. The ballet begins by introducing all the cast at a garden party where Alice’s mother sacks the under-gardener, Jack (Federico Bonnelli) for stealing a jam tart. This is a cause for tears and tantrums from young Alice (Sarah Lamb) who was rather hoping to see him later for a tryst. Very handsome Bonnelli dances wonderfully as the Knave of Hearts/Jack . Alice’s home is also visited by the ‘real’ Carroll (that is, Charles Dodgson) and by characters who will later reappear in Wonderland.The work feels, at times, a bit dominated by set and visual design values. The dangerous sausage-making scene in the lethal Cook’s kitchen could have come out of Sweeney Todd, and the axe-wielding psychotic madness of the Queen of Hearts creates a real sense of terror. The ballet, at times, immerses itself entirely in the rather surreal Carroll universe, following the dreamlike narrative and its nonsense-cum-logical progression with remarkable fidelity. I thought Ricardo Cervera as the dithering White Rabbitt/Lewis Carroll was fabulous, and extremely stylish in his elegant white satin. I agree with one of the audience tweets-that he looked quite Elton John like with those glasses. He has incredible, soft bouncy pas de chats at one point, beautifully performed. Zenaida Yanowsky as the tyrannical, malignant Queen of Hearts was brilliant and there was a wonderful somewhat angular pastiche of the Rose Adagio from Sleeping Beauty with her four ‘suitors’. The gentle , old King of Hearts was perhaps brother to the red king in de Valois’ ‘ Checkmate’ . I also enjoyed the aloof ,elegantly draped pink Flamingos as portrayed by the women of the company ( hints of Les Biches? ) and the cute hedgehogs in the croquet party in Act 3. As the exuberant Mad Hatter with his dynamic, colourful tap shoes and dazzling style , Steven MCrae was superb. The strange tea party was excellently performed with the poor dormouse (James Wilkie) ending up in a giant cup . Eric Underwood’s astonishing slinky Caterpillar and his slave girls harem was a delightful piece of Hollywood kitsch. And I loved the blue pointe shoes, especially encrusted with diamonds! Special mention must also be made of the wonderful appearances of the frisky, mischievous Cheshire Cat. Towards the end there is a very stylish and beautiful pas de deux between Alice (Sarah Lamb) and the Knave of Hearts (Federico Bonnelli) . And I loved the return, at the end, to the ‘real ‘ world of current, contemporary Oxford. Summing up, this production was intriguing holiday fare. Running time – allow 3 & ½ hours including two intervals. The film also includes a short documentary before hand on the making of the film, and Darcey Bussell interviews various people associated with the production during both intervals. The Royal Ballet in ALICE IN WONDERLAND is part of the Palace Opera and Ballet series screening at selected cinemas 23-28 Jan 2015. For more information- http://www.palacecinemas.com.au/events/palaceoperaballet20132014vic/ CAST:- Alice Sarah Lamb Lewis Carroll/White Rabbit Ricardo Cervera Mother/Queen of Hearts Zenaida Yanowsky Father/King of Hearts Christopher Saunders Jack/Knave of Hearts Federico Bonnelli Magician/Mad Hatter Steven McCrae Rajah/Caterpillar Eric Underwood The Duchess Philip Mosley Vicar/March Hare Paul Kay Verger/Dormouse James WIlkie Cook Kristen McNally Fish/Footman Tristan Dyer Frog /footman Marcelino Sambe Conductor David Briskin .

Nothing to Lose

This was challenging and terrific http://performing.artshub.com.au/news-article/reviews/performing-arts/lynne-lancaster/nothing-to-lose-246961 Print Email  Email to a friend Your email Please enter a valid email Your name Please enter your name Friend's email Please enter a valid email Friend's name Please enter your friend's name Verification (type the code in the image) Invalid security codeGenerate New Image Close Related Articles How to sell your story (Premium locked content) Humans are programmed to care about stories so making the most of yours will help market your work. Unveiled: latest program announcements Tantalising programs at Sydney Film Festival and The Festival of Voices have been announced this week. How to capture differently-abled audiences (Premium locked content) Artists and companies looking to grow their audiences would do well to look towards people with a disability, who are often hungry for arts experiences. The Confidence Man A technical tour de force, subverting key notions of theatrical performance. Lynne Lancaster Sunday 25 January, 2015 A vibrant, challenging and confronting piece for Kate Champion's last work as director of Force Majeure. Image: supplied Directed by Kate Champion, whose interest was in 'exploring the movement and sculptural quality of the larger physical form' and presented by Force Majeure, a company with a strong reputation for innovative and edgy dance theatre work, this is a vibrant, challenging and confronting piece. Nothing to Lose is the latest and last in a series of works under Champion’s direction distinguished by strong social themes. Champion has turned her back on the traditional trim, athletic dancer’s body, and instead recruited seven very large performers whose fleshy forms lead to a new appreciation of moving to music. From the beginning, when the performers lie cushioned against each other in formidable looming mounds, and then slowly stand to stare at us, accusingly, we can feel their looming presence. Some dancers then walk down amongst the audience, repeating society’s waterfall of cutting fat insults as well as throw the condescending questions to us all: 'Is it healthy? What do you eat? Do you ever go for a run? How do you have sex? Do you lack self control? What about diabetes? Are you always jolly? In some ways it is like a medical questionnaire, chillingly neutral yet getting under one’s skin. A few hesitant, courageous audience members are then invited up to feel the bodies of some of the cast, as each stands on gallery plinths as if for a life drawing class. The post-modern 'limitlessness of form' is commented on by a ‘curator’. We’re encouraged to feel floppy stomachs and thighs, gently analyse heavy breasts and pat large bottoms. Nothing to Lose is never dull as it slides through a collection of vignettes. With dramaturgy by actor Steve Rodgers, much of the show’s introversion is in the text. Those questions voiced earlier – about the health and happiness of being large – are only partly answered. There is a wry, dark sense of humour throughout the script so we accept this approach as direct and honest even if uncomfortable. One performer has a monologue as an overweight 16-year-old being counselled on the challenges that lie ahead for her. An optimistic, finally guilt-free future is asserted but she’s informed the voyage will be difficult, whether through social prejudices or just the dismal reality of being considered 'too fat'. In a more choreographic approach, another performer, to a screaming soundscape, continually hurls her body to the ground with shuddering impact (in despair or frustration?) This is contrasted in another sequence to the music of Vivaldi where seven bodies wobble enchantingly. In another segment, a large blonde dancer brings new meaning to the definition of Opera when she jiggles and rolls to the soaring music of ‘Lucia di Lammermoor'. Champion’s choreography exploits the dignity and gravitas of these performers striding, posing across the stage as we segue into a seemingly catwalk-like exhibition of bodies who gyrate, strut, swing and reach their arms high. Designer Geoff Cobham has provided a suitable disco like backdrop of chrome scaffolding, his lighting nicely shadowed and angled to lighting to feature, sculpt and highlight the assorted bodies. The club dance floor is apparently a second home as the cast stretch into straps and leathers, the belts cross-thatching across their flesh, and show us the fun flouncy moves full of confidence and vitality. The show ends with a truly joyous line dance, with our seven main performers joined by a dozen enthusiasts erupting onto the stage for the big finale. For this production, Champion has collaborated with fat activist Kelli Jean Drinkwater. As Artistic Associate and Music Curator she has made a great contribution to the creative process and its outcome. This is Champion's last work as Artistic Director of Force Majeure, the company she founded in 2002. With both old and new colleagues working alongside her on Nothing to Lose, together they have achieved an extraordinary, challenging production. It is definitely the amazing performers' show who take charge of every move they make, whether breaking out with challenging, thrilling choreography or voluptuous and sensual steps. Champion and her team have given them an opportunity to shine wonderfully in this provocative, unpredictable and inspiring new production. Rating: 4 out of 5 stars Nothing to Lose Carriageworks, 21 - 25 January, 2015 Malthouse Theatre 11 - 21 March, 2015 Performers: Claire Burrows, Julian Crotti, Michael Cutrupi, Lala Gabor, Ally Garrett, Latai Taumoepeau and Anastasia Zaravinos Director: Kate Champion Artistic Associate and Music Curator: Kelli Jean Drinkwater Costume design: Matthew Stegh Set and lighting: Geoff Cobham Dramaturg: Steve Rodgers Choreographer (final piece): Ghenoa Gela Composer (final piece): Stereogamous Sydney Festival 2015 www.sydneyfestival.org.au 8-26 January

Tosca by Opera Australia

A most powerful performance here's my Sydney Arts Guide review http://www.sydneyartsguide.com.au/tag/opera-australia/ Opera Australia has pulled out all the stops in this thrilling revival of the rather controversial version of Puccini’s TOSCA as directed by John Bell. The production was first seen in 2013. Musically and vocally, this production is fabulous. The Australian Opera and Ballet Orchestra under the baton of maestro Andrea Battistoni play superbly. At a couple of points one could hear hints of Puccini’s Madame Butterfly, Turandot and La Boheme,– sometimes starkly dramatic, at other times lyrically passionate. Curly haired, dynamic Battistoni conducted energetically yet also with precise attention to the swirling, passionate melodies. This unsettling, confronting revival sees the narrative transposed to Rome in the 1940’s, with the Nazi occupation in full and deadly swing. Death, guns and violence are everywhere. The predominant visual shade is black or grey with some starkly dramatic reds. Special mention must be made of Michael Scott- Mitchell’s more than wonderful opulent Baroque church set design for Act 1. Act 2 is far more sinister with Scarpia’s office dominated by a long table, large windows and huge Swastika banners. Act 3 is yet even darker with a massive staircase and barbed wire representing the interior of the prison camp. The three leads are sensational and vocally superb. As Floria Tosca, South African guest star Amanda Echalaz is sensational,– a riveting actress and singer. Echalaz is beautifully costumed, her Act 2 gown is magnificent. She is every inch an opera diva with a creamy, pure, top range. Her voluptuous, soaring soprano shimmers with emotion. She plays a kittenish jealous minx, charming and delightful. She is a strong, determined, passionate woman out to save her lover. Echalaz’s duets with Cavaradossi are fabulous and her torn, pleading Vissi d’arte, full of fear and anguish, brought the house down As Cavaradossi, our tormented painter hero, terribly handsome tenor Riccardo Massi is in excellent voice. His major aria in Act 1 Recondita Armonia is beautifully sung and his passionate letter aria E Lucevan le stelle in Act 3 was marvelous, leaving some in the audience teary. In Act II, Cavaradossi’s fiery defiance of his captors includes tearing down one of the Swastika decorations, which was later used by Tosca to cover the dead Scarpia (a deft use of the crooked cross in place of the standard crucifix). As sinister, Iago-like cold, malevolent Baron Scarpia, Claudio Sgura is brilliant, showcasing a spine tingling bass. He is malicious and takes what he wants whenever he wants it. Implacable and menacing, his explosive volcanic impulses are barely controlled and hidden. His cynical , hypocritical leading of the Act 1 finale is thrilling. In Act 2 he molests the only woman officer present and no one tries to stop him. Scarpia is portrayed as a bullying, lecherous man in the prime of life and power who fully believes that pleasure and domination by fear and pleasure are his by right. Sgura’s towering height adds to his menace, and his lean, virile stature significantly heightens his sexual menace. Rome shivers and trembles with fear. Escaped prisoner Angelotti, Cavaradossi’s friend, was marvelously sung by David Parkin. Luke Gabbedy has great fun in Act 1 as the grumbling, somewhat clumsy sacristan. Another excellent, imaginative piece of staging happened during the introduction at the beginning of Act 3 where we see a number of yellow-star-wearing Jewish people managing to bribe their way out of prison just in time – or do they?! The shepherd boy aria was well placed here. This was traditional opera at its very best. Running time ,– three hours with two intervals. Opera Australia’s TOSCA runs at the Joan Sutherland Theatre Sydney Opera House assorted dates in rep between the 13th January and St Patrick’s Day, the 17th March. January 13- 17 March 2015

Puncture at Parramatta

This was awesome !! Here's my rave for artshub http://performing.artshub.com.au/news-article/reviews/performing-arts/lynne-lancaster/puncture-246963 Puncture is an extraordinary collaboration between Form Dance, Legs on the Wall and Vox/Sydney Philharmonia Choirs in a thrilling, dangerous, hot and sweaty, inspired and uplifting theatrical treat. One of, if not the best, show of this year’s Sydney Festival, Puncture hurtled onto the stage at Parramatta and left us breathless. The idea is based on the observation that dancing in public is high on the list of things people fear most. This work aims to be like the needle that breaks the surface so that what's inside can be seen, and succeeds superbly. Upon entrance, the audience is seated on three sides of the stage of the specially reconfigured large Parramatta theatre, with one wall left for the excellent orchestra, ropes, space for technical effects and also the choir at certain points throughout the performace. Inspired by the great songwriters, from Monteverdi to Madonna, musically it ranges from acapella voices repeating and exploring a single phrase to military bands, hot and sexy tango, formal sixteenth century court dances, showbiz musicals and everything in between. Stefan Gregory, Luke Byrne and percussionist Bree van Reyk have developed an amazing snapshot of the history of music and Vox/Sydney Philharmonia Choir are sensational. The 30 strong choir are arranged in simple blocks of movement or stand at the back while the dancers enthrall kinetically . Much use is made of projections on the side walls – a kaleidoscope of various images of multiple cardboard cutouts, silhouettes, shadows, reflections and (among other things) joyous bubbles. Choreographically it includes dizzying, dazzling, flying acrobatics, snippets of contemporary dance (with possible shades of Graeme Murphy ,Rafael Bonachela and Sir Kenneth MacMillan). There is rolling floor work and much fun is had with the inclusion of line and folk like circle dances. Various styles of social dance are also included waltz, tango, and jitterbug as well as rippling ensemble work contrasted with stately, grounded court dances. Some audience members were invited to dance at various points with the cast members. The exultant, passionate ending was sort of a contemporary reworking perhaps of ‘The Rite of Spring’ with magnificent performances by Chan and Thomson , followed by a low buzzing at first then huge crashing wall of sound as the Vox/Sydney Philharmonia Choir invade the space again and acknowledge the audience. Rating: 5 out of 5 stars Puncture Parramatta Riverside Legs on the Wall and Vox – Sydney Philharmonia Choirs Director Patrick Nolan Composer Stefan Gregory Choreographer Kathryn Puie 21 - 25 January, 2015

Faust by Opera Australia

A most glorious production here's what I said for Sydney Arts Guide : http://www.sydneyartsguide.com.au/opera-australia-faust-at-dame-joan-sutherland-theatre-sydney-opera-house/ Succumb to Mephistopheles power in this lavish, opulent, thrilling production. Visually stunning, musically glorious, with three superb leading performers, this is a magical highlight of this year’s Opera Australia season. The Australian Opera and Ballet Orchestra under the energetic, dynamic and enthusiastic baton of maestro GuillaumeTourniaire delivered a lustrous, splendid performance of Gounod’s lush, hugely expansive score with an edgy tempo.The ensemble chorus work, under the direction of Anthony Hunt, was inspiring and well-balanced. The plot of Gounod’s opera is deeply rooted in religion, superstition and morality. In Charles Francois Gounod’s opera, aged and despairing philosopher Faust (Michael Fabiano) sells his soul to the devil, Mephistopheles (Teddy Tahu Rhodes), in exchange for youth and the chance to pursue a beautiful innocent, Margeurite (Nicole Car). Director Sir David McVicar has transposed the story from 16th century Germany to the composer’s own 19th century Paris. This production originally premiered in London at Covent Garden in 2004. The show has been perfectly cast by Opera Australia and has been recreated with immense attention to detail by Bruno Ravella, the director of this revival. Theatricality is everywhere. The underlying setting in Charles Edwards’ painterly set design is stunning. Mephistopheles and Faust are in a theatre, the church setting is a theatre, we are in a theatre, and it’s all a superb and deftly handled performance, which invites reflection and discussion about sex, religion and guilt, amongst other things. Every opportunity to give the opera colour and movement has been exploited by choreographer Michael Keegan-Dolan who choreographed a tight, hot and spicy can-can for the second act Cabaret L’Enfer and then a disturbing , rather bizarre and demonic ballet for the fifth act Walpurgisnacht, combining traditional ballet technique from Giselle and Les Sylphides ( but barefoot) -with a touch of Matthew Bourne’s Highland Fling -which becomes a nightmarish, riotous orgy. The chorus was in excellent voice and enjoying the full spectacle of grand opera- the well known rousing Soldier’s Chorus was splendidly done (reminiscent of Les Miserables. American tenor Michael Fabiano with his matinee idol good looks is magnificient in the eponymous role, with masses of vocal power and a true,smooth, vocal line. When he unleashes all of his power at the top of his range, it captivates and gives one shivers. He’s also developed an excellent characterisation of great depth from the weak, tottering old man of the first act to the adventurous, love-struck young man in the final Act. His’ Salut! Demeure chaste et pure’ was exquisitely shaped, full of light and shade, and featured a marvellous ringing top note. Fabiano has a magnetic stage presence and is convincing in all his personas. In this version, Méphistophélès is shown as an elegant conman showman, a decadent chameleon, from dandy to pimp to pusher (even hidden Baroque statue) and even includes the devilish humour of wearing a dress in full drag. Tall Teddy Tahu Rhodes is in his absolute element-, saturnine and worldly. Satan is a master trickster who laughs at superstition and wears a crucifix . Tahu Rhodes commands the stage with oceans of charm and a gloriously seductive voice. Nicole Car’s vocal performance as innocent, betrayed Marguerite is excellent, — sensitive musically and beautifully pure. Her performance of the famous Jewel Song was a fabulous example of how to combine operatic voice with a strong acting technique and she ‘brought the house down’ with it. Handsome Giorgio Caoduro impressed with his incredibly moving aria Avant de quitter…another show highlight. Dominica Matthews makes a short but impressive appearance as Marguerite’s friend and neighbour , the rather overblown Marthe, whilst Anna Dowsley brings a delicious sweetness and impetuosity to young Siebel. The audience reaction at the conclusion was ecstatic and an extra performance has been scheduled because of public demand – quick ! run and book now if you can. What would you sell your soul for ? Running time 3 and ½ hours (approx ) including one interval FAUST runs at the Joan Sutherland Theatre Sydney until March 13 with an extra performance just added on Monday March 9 at 6.30pm – on sale now. CONDUCTOR Guillaume Tourniaire (until 28 Feb) Anthony Legge DIRECTOR David McVicar REVIVAL DIRECTOR Bruno Ravella SET DESIGNER Charles Edwards COSTUME DESIGNER Brigitte Reiffenstuel LIGHTING DESIGNER Paule Constable CHOREOGRAPHER Michael Keegan-Dolan REHEARSAL CHOREOGRAPHER Daphne Strothmann FIGHT CHOREOGRAPHER CHOREOGRAPHER Shane Placentino ASSISTANT DIRECTOR 2 Andy Morton FAUST Michael Fabiano MARGUERITE Nicole Car MÉPHISTOPHÉLÈS Teddy Tahu Rhodes VALENTIN Giorgio Caoduro MARTHE Dominica Matthews SIÉBEL Anna Dowsley WAGNER Richard Anderson Australian Opera and Ballet Orchestra Opera Australia Chorus Based on the co-production by Royal Opera House, Covent Garden, Opéra de Monte-Carlo, Opéra de Lille, and Fondazione Teatro Lirico Giuseppe Verdi, Trieste and first performed at Covent Garden. 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New Theatre's Mother Clap's Molly House

This vivid, bold, lewd and naughty production rockets onto the New Theatre stage and explosively demands our attention. The New Theatre presented the Australian premiere a decade ago and this current extraordinary revival is linked in with the Mardi Gras festival and is full of outrageous characters, graphic sexuality, bawdy songs and handsome men. It is not for the easily offended and contains lots of strong language and simulated sex (among other things!) Shifting deftly between time periods, Mark Ravenhill (Shopping and Fucking) has written an astringent and subversive satire that celebrates the diversity of human sexuality and explores our emotional need to form families whilst simultaneously slamming the way sex has become another product to buy. The story is mostly as follows: It opens in London, 1726 and a Mrs Tull is struggling to save her frock-hire business. Discovering her apprentice, Martin, (excellently played by Andrew Grogan) and some of his hidden skirt wearing friends, she becomes aware of a bustling subculture that will enable her to realise two of her fantasies: to become a surrogate mother and to earn a lot of money. She decides on a plan to open a "molly house" – a brothel where the ‘girls’ are boys in frocks and the beer flows – and business is soon booming! This is contrasted in Act Two, where in a trendy 21st century Bloomsbury loft, we see how a gay relationship is disintegrating amidst the drugs and toys of a sex party /orgy. In the past, the term “molly” referred to male homosexuals and transvestites. Today, the word implies recreational drug use. Ravenhill’s script examines the evolution of gay identities, and the way societal permissiveness and the profit motive have somehow encouraged a false sense of freedom from morals and principles, a world where men are led to believe that the pleasure principle leads to happiness and liberation. The play doesn’t criticize assorted “misguided” individuals, but it is critical of how gay communities can sometimes see themselves. It also looks at the position of women in society, then and now – has anything really changed? Director Louise Fischer does a great job in sustaining the period feel and effortlessly moving the cast from that time to the present day and back with seamless fluid scene changes. She sharply addresses the political aspects of the play and also brings out the deeply carnal flavour of its live experience. Mother Clap is tremendously played by Deborah Jones, and we follow her unexpected drastic transformation. Clap in early scenes is perhaps a bit rigid and narrow minded, but upon liberation in the production’s second half, Jones is a confident, vibrant and spirited performer, and we see an interesting allegorical embodiment of queer empowerment. Terribly handsome Steve Corner’s superb portrayal of complex Princess Serafina is thrillingly multifaceted and nuanced in a magnificent performance. His well thought approach to his astonishing bravura performance is nicely balanced nicely with a knack for comedy . Chantel Leseberg gives a polished performance and is most impressive in her two contrasting roles, Amy and Tina. Amy, of 1726, is a deliciously wicked and knowing ‘innocent country wench’ while Tina, of now, who nearly bleeds to death after a botched abortion, is a demanding homophobe controlled by her horrible boyfriend. Leseberg’s presentation is always exciting and innovative. Bradley Bulger has much fun in red and black as a mischievous delightful Puck-like Eros, and the rest of the ensemble are also splendid. Ravenhill tries to shock his audience while at the same time tenderly exploring the riddle of the monogamous who love the polygamous and vice versa in a great achievement of portraying love and despair. 'Shit on those who call this sodomy / We call it fabulous!' Rating: 4 stars out of 5 Mother Clap’s Molly House Written by: Mark Ravenhill Music: Matthew Scott Director: Louise Fischer Cast: Debra Bryan, Bradley Bulger, Stephanie Begg, Steve Corner, Andrew Grogan, Patrick Howard, Deborah Jones, Chantel Leseberg, Tess Marshall, Brendan Miles, Thomas Pidd, Garth Saville, Dave Todd New Theatre, Newtown 11 February - 7 March