Copacabana

Hits galore in Copacabana

BARRY MANILOW'S COPACABANA:
Northern Light Theatre Company

Shedley Theatre, Elizabeth

To November 6

WHO would have thought Barry Manilow's 1978 Grammy award winning song would spawn an Emmy Award-winning TV movie and a musical stage play?

The tragic love story of the song makes way for a happy, funny show, without the high camp or heartbreak that one might expect.

It is a story within a story, of a writer struggling to create a love song about a showgirl named Lola.

As we enter his imagination, the lyrics come to life with all the pizzazz and aplomb you could hope for.

Rodney and Kerri Hutton are the ideal romantic leads, playing barman Tony and showgirl Lola.

Both have a wonderful stage presence, ooze sex appeal, and can sing up a storm.

They carry the show effortlessly, despite major technical problems with microphones on opening night.

As the owner of the Copacobana, Ian Rigney is a memorable rough diamond with great lines and delightful bits of business.

Ben Kempster as Rico is cold and nasty, putting in a commanding performance in his first role as a bad guy.

Rachel Spargo is superb playing Rico's girl Conchita, but her musical talent is sadly wasted in a role with only one song.

The skilled chorus meets the challenges of both the songs and, more importantly, the dances.

Kerreane Sarti's energetic choreography sparkles with an impressive array of routines, all of which are executed nicely by the well-rehearsed ensemble.

Dancin' Fool , performed by Tony and the male chorus, is particularly notable.

Ceri Horner's direction is witty and tight, and Tammy McInness's orchestra is outstanding.

Ann Humphries' costume design is possibly the best seen on the amateur stage this year, with excellent use of colour, and costumes ranging from simple street wear to raunchy, high glamour outfits for the girls.

With the exclusion of the title song, the soundtrack to this play is unknown to most, but there isn't a dud song to be heard - even when the microphones are working properly.

ROD LEWIS

Review published in the News-Review Messenger, 27-10-04, p. 90.

Wyrd Sisters

Northern Light Theatre Company
Playford Civic Centre

Review by Hayley Horton

Terry Pratchett stories have a strong following, both on the stage and in the bookshops. Wyrd Sisters is certainly a favorite, giving a tongue-in-cheek look at theatre in the fantasy land called the Discworld.

With many an in-joke and references to a range of literary and cultural works, this play is great for Pratchett aficionados or new audiences alike.

Thorin Cupit heads up this production as Director with a mixed cast, including performers who have tread the boards more than they probably can count to those who have never stepped foot on a stage.

To find the balance in this mix is a directorial feat, which unfortunately is not achieved in this instance.

The trio of witches set on ensuring the rightful king is on the throne of their kingdom are the clinch-pin of this production, ably led by Theresa Dolman as Granny Weatherwax. Dolman is flawless in her performance, with excellent comic timing, characterization and on many occasions keeping the pace ticking.

Fran Edwards as Nanny Ogg is equally comfortable and endearing in her role, while Emily Armstrong as Magrat Garlick completes the trio with an awkwardness that is true to the original, although slightly unnerving for a two-hour performance period.

Other strong performances in this eclectic cast include Troy Brailsford as Tomjohn (particularly after only last minute rehearsals) and Bradley Martin as Duke Felmet (suitably creepy and insane).

While the stronger performances keep the witty script alive, the more inexperienced supporting cast need guidance in diction, projection and general characterizations if nothing else to diminish the awkward blocking and constant up-staging.

Without the vastness of the Shedley, the Playford Civic Centre offers cabaret seating and an open bar to further entertain the audience; however this does not compensate for the lacking production elements.

While the costuming by Ann Humphries and Fran Edwards is appropriate to the Discworld setting (except for the Fool's unexplained bare feet), the production lacks in set, set dressings and the underscoring music should be kept to the scene changes only.

Overall, Northern Light have had many new elements to deal with in this new venue, which is saved by a handful of outstanding performances and the ongoing laughs of this witty script and story.

Jesus Christ Superstar

Superstar resurrection for Shedley
Messenger Newspapers
Matt Byrne
Abridged version of this review published in the News-Review Messenger, 14-4-04, p. 26.

EASTER is a time of renewal and it is great to see Northern Light Theatre Company back in the resurrected Shedley Theatre since Good Friday presenting Jesus Christ Superstar.

Andrew Lloyd Webber's apocalyptic music and Tim Rice's dramatic lyrics have stood the test of time in this still rebellious rock opera version of the ultimate passion play.

Jesus' followers were an underground movement at the time, so director Andy Ahrens has decided to take the action down into an industrial sewer - courtesy of designer Damon Hills - where the death throes of Jesus' life are played out with passion and a fair touch of grunge.

While all the authority figures are dressed (some great work from designer Anne Humphries) for the real time of Christ's life, the rest of the cast is a curious combination of We Will Rock You meets Mad Max meets Desperately Seeking Susan ... meets anyone on the street.

Ahrens has given the production immense intent and the overall cast commitment is a highlight of the show, Mark Horner's orchestra pounds out the rock score and the singing is excellent, while Irena Setchell's choreography suits the many moods of the show, especially in the Lepers scene and the title song.

Mark Oates gives Jesus a wide-eyed innocence and celebrity status that is refreshing, but when the inevitable agony replaces the hosanna ecstasy, he is compelling and his pure voice echoes the thorny torment he must embrace.

Kurtys Ramond is a leviathan of contradiction as Judas.

The right-hand organiser who must destroy the leader he loves most, as political considerations and a purse of silver outweigh the eternal consequences.

Ramond's brooding presence and volcanic voice are outstanding but he must beware letting strident emotion overwhelm lyrics and control in one crucial number.

Rodney Hutton gives his finest ever performance as the troubled Pontius Pilate; aware of the role his hand must play in condemning a man he knows to be innocent.

Hutton's rendition of Pilate's Dream is shattering stuff, and his vested power awesome in the 39 Lashes.

In a night of star turns, Mike Pole makes a hedonistic Herod, complete with mobile throne and sexual diversions, Ben Shultz rocks with a zealous fire as Simon, Ben Poona steps up to every challenge as Peter, Stevan Squires is a callous Caiphus and Vaughan Harmer is very nasty as the not-so-high priest Annas.

Due to an obvious throat problem Annie Slade was unable to show her potential as Mary Magdalene, and her songs needed support.

After a week's break, Slade should recover and be able to give her all for the rest of the season.

Ian Barge and Andy Halls' exciting lighting design enhances the action as the greatest story ever told reaches its chilling final chapter.

To the alleged audience members who used digital cameras, especially a flash in Judas's death scene, your selfishness and stupidity knows no bounds or legal ramifications and you could have seriously injured someone - still you would have had an exclusive shot of it.

These cameras must be banned from any auditorium. Jesus Christ Superstar is a serious piece of performing art not a school pantomime.

Playford Council is to be congratulated on its revamp of the Shedley Theatre.

The new seats are comfortable and the foyer is spacious - all it needs now is a sign out the front saying Shedley Theatre and what is on inside it - makes all the millions effective then ... and people know where to park.

Ultimately, after a year in the wilderness Northern Light has finally come home and may we all say: thank God for that!

MATT BYRNE