“The Prom” Shines Bright in Sydney’s Inner West
A wave of cultural change appears to be sweeping through Sydney’s inner west, and the self-funded Australian premiere of The Prom at the new musical theatre venue Teatro, nestled within Leichhardt’s Italian Forum, serves as compelling evidence. This production is a dazzling triumph, brimming with feel-good energy, sharp wit, a cast brimming with talent, and at its core, a heartwarming queer coming-of-age love story. By the time the final curtain falls, audiences will likely find themselves bursting with joy and tender hope, echoing the sentiment of one character who sings about the magic of theatre, “it feels as if we’re coming home again.”
While Nick Fry’s spectacularly vibrant set evokes the feeling of being inside a giant, multicoloured disco ball, the narrative unfolds in Indiana, a locale not quite as progressive as New York. The story kicks off when a conservative parent-teacher association cancels the high school prom, refusing to allow Emma (portrayed with a voice reminiscent of a Disney heroine by Sophie Montague) to bring her same-sex date.
News of Emma’s plight reaches Dee Dee Allen (Caroline O’Connor) and Barry Glickman (Brendan Monger), two renowned but spectacularly self-absorbed actors. Their latest production has been panned, and they are desperately seeking a cause célèbre to resurrect their careers and reclaim the spotlight. Enlisting their ambitious PR manager, they embark on a moral crusade, dubbing themselves “thespians saving lesbians.” Predictably, their well-intentioned but opportunistic meddling often creates more problems than it solves.
The Prom made its Broadway debut in 2018, and O’Connor and Monger would undoubtedly have felt right at home on that legendary stage. Channeling echoes of Liza Minnelli and Nathan Lane respectively, they masterfully employ every tool at their disposal – vocal inflection, impeccable timing, expressive movement, and sheer “zazz” – to inject flair into Bob Martin and Chad Beguelin’s book and lyrics. Their performances are a loving and humorous send-up of their own vainglorious characters.
A standout moment was O’Connor’s rendition of “The Lady’s Improving,” a song where she attempts to win back the affection of the principled school principal. Equally delightful are Matthew Sklar’s uplifting score, Craig Renshaw’s assured direction, Cornelia Cassimatis’s splendidly executed costumes that seemingly appear and disappear between scenes, the wonderfully energetic choreography, and the expansive ensemble cast, many of whom play the high school bullies.
A significant portion of this talented ensemble hails from Teatro’s THEatreBRIDGE program, an initiative dedicated to nurturing emerging artists. Bella McSporran, who stepped in as a last-minute swing, delivered an exceptional performance.
Beyond the entertainment, the play delivers a poignant message. While Emma adores her four flamboyant “heroes” who have ostensibly come to her rescue, she, a more reserved and gentle individual, doesn’t possess their extroverted theatricality. She finds herself unwillingly cast as a pawn in America’s culture wars. As she confides in her closeted sweetheart, blazing a trail isn’t her natural inclination; she simply wishes to dance with the person she loves. The play thoughtfully explores how adults can sometimes mistake their own opportunism for righteous intervention, a sentiment that might resonate with historical events where school productions became unexpected political battlegrounds, much to the discomfort of the students involved.
Ultimately, this production mines endless entertainment from misguided agendas, culminating in a hopeful vision of an ideal, compassionate, and selfless world. Grab a date and head to The Prom – you won’t be disappointed. Next up at Teatro is Tootsie.
Wu-Tang Clan’s Farewell Tour Hits Mixed Notes in Sydney
Promoted as “all living members in one room for the final time,” the Sydney stop of the Wu-Tang Clan’s global farewell tour quickly became a test of audience patience, as a series of unforeseen issues marred the iconic New York hip-hop group’s performance. De facto Clan leader RZA candidly admitted early on, “We flew 20 hours on the plane to f—k wit’ you,” failing to mention that Method Man, Raekwon the Chef, Cappadonna, and Young Dirty Bastard (who was filling in for his late father, Ol’ Dirty Bastard) had all missed their flights. This left the audience with approximately half of the legendary group.
Pre-show advertisements pushing Wu-Tang’s merchandise further amplified a sense of the event being a bit of a cash grab. However, any lingering sour taste largely dissipated once RZA took the stage with infectious energy and rock-star charisma. His Clan brothers Ghostface Killah, Inspectah Deck, and GZA joined him one by one, launching into the Wu classic “Bring Da Ruckus.”
Rounded out by U-God and Masta Killa, the group then proceeded to deliver rousing renditions of early favourites such as “Shame on a N—–” and “Protect Ya Neck.” The momentum, however, took a hit about 25 minutes into the show when the Clan paused for a trailer promoting a new film directed by RZA. This felt like an ill-timed and misplaced diversion.
It wasn’t the only instance of distracting self-promotion. On two separate occasions, audience members were prompted to scan QR codes to vote for the Wu-Tang Clan’s induction into the Rock & Roll Hall Of Fame – a stark reminder of how sometimes, a more nonchalant approach to such accolades can be far cooler.
Despite these stumbles, when the Wu-Tang Clan hit their stride, most missteps were readily forgiven. A segment featuring solo performances by Ghostface Killah and GZA served as a potent reminder of why they are considered two of the Clan’s breakout stars. Ghostface, in particular, delivered his verses with an infectious, cocky swagger that almost matched the vibrant energy of his younger self.
The seven-piece band on stage contributed to the “fancy arena show” feel, but their success in translating the Wu’s signature grimy beats into a live setting was inconsistent. A frequently muddy sound mix did little to help matters.
Overall, the concert proved to be a mixed bag. Yet, when the group locked into the zone on classic tracks like “Tearz,” “C.R.E.A.M.,” and “Triumph,” it unequivocally solidified why the Wu-Tang Clan, as they proudly proclaim, are forever.
Bach and Telemann Resonate at Pinchgut Opera
Between 1729 and 1741, citizens of Leipzig enjoyed an evening ritual: a visit to Zimmermann’s coffee house for conversation and a dose of music from one of history’s greatest musical minds. During this period, Johann Sebastian Bach took the helm of the Collegium Musicum, a student ensemble founded earlier by his friend George Philipp Telemann. While these gatherings were apparently informal affairs, lacking tickets or printed programs – much to the frustration of later historians – Pinchgut Opera’s Orchestra of the Antipodes, under the direction of Erin Helyard, presented a stylishly plausible reconstruction of this music through a curated selection of concertos and sonatas.
The program commenced with Telemann’s Sonata a 4 in A major. Violinist Matthew Greco set a tone that became a hallmark of the orchestra’s performance: graceful fluidity, transparent clarity of texture, a light touch, and an effortless ease with ornamentation.
In a concerto by Johann Friedrich Fasch, another Leipzig luminary, Simon Martyn-Ellis showcased Pinchgut’s newest instrumental acquisition: a gallichon, a lute-like instrument. Martyn-Ellis played with delicate intimacy, though the instrument’s projection might have struggled to reach the back of the hall. Against the muted string accompaniment, Martyn-Ellis wisely avoided forcing the tone, instead allowing it to reside in its own sweet spot. While the performance was musically sensitive, it lacked the soloistic projection needed for larger venues. The reality is that such an instrument would either require amplification or a more intimate setting.
Telemann’s Sonata a 5 in E minor offered a subtly richer depth of sound with the addition of bass viola player Rafael Font. This enhanced the long, flowing lines of the slow movements and brought a rewarding energy to the faster passages. Greco, in Bach’s Violin Concerto in A minor, skillfully avoided any unwanted sharpness in his attack, playing the outer movements with buoyant spring and an insouciant, elegant approach to ornamentation.
The audience’s enthusiastic response confirmed that the program’s standout piece was Helyard’s performance of Bach’s Harpsichord Concerto in D minor. This rendition possessed a rhythmically gripping inevitability, never feeling rushed or overly accented. The outer movements established an irresistible momentum, while the inner movement drew the audience into the same focused listening that the musicians so clearly embodied. Surrounding this masterpiece were two Sonatas a 6 by Telemann, in G minor and B flat major. With an even subtler richness of texture, the players shaped and swelled the phrases persuasively in the slow movements, allowing the quicker sections to flow with a sense of unbridled freedom. It was an authentically congenial afternoon of listening, even without the coffee tasting.
“Phantom of the Opera” Dazzles Against Sydney Harbour Backdrop
As patrons arrived clad in a mix of down jackets and dinner jackets, battling rain, wind, and unseasonably cold weather, it seemed the Phantom himself might be casting a stormy curse over this outdoor production. However, by the time that thrilling opening riff thundered out, the skies had miraculously cleared, heralding the start of a night of pure theatrical magic. This inspired production proved to be a spectacle that rivalled the splendour of its iconic harbour backdrop.
Much of the production’s impact stems from Gabriela Tylesova’s ravishing and imaginative design. She masterfully blends the grand with the intimate, featuring a tower of ornate theatre boxes and a fractured proscenium arch on one side of the stage, complemented by an enormous staircase spanning its width. The infamous chandelier dangles above the stage to the right. Tylesova’s costumes are a breathtaking riot of colour, sparkle, and opulent excess.
Despite the visual grandeur, the narrative remains a dark, interior drama – or perhaps more accurately, a melodrama. The story centres on the deformed, mask-wearing Phantom who haunts a 19th-century Parisian opera house and becomes obsessively fixated on a young singer named Christine. This self-proclaimed “angel of music” reveals himself to be a manipulative murderer, a figure akin to an incel dwelling in a gothic equivalent of his parents’ basement – a subterranean lair beneath the Paris Opera.
In this production, the lair is accessed not by a foggy lake, but by a dramatic ring of fire, a staging choice that works exceptionally well. When the chandelier falls, it does so with a gentle descent, but is masterfully accompanied by the signature Opera on the Harbour set piece: a spectacular fireworks display. This is a return of the highly successful 2022 Opera on the Harbour production.
Simon Phillips once again directs Andrew Lloyd Webber’s 40-year-old musical with remarkable energy and style. The production is further elevated by Simone Sault’s elegant choreography. The sound quality is exceptional, with musical director Guy Simpson conducting the orchestra, cleverly concealed beneath the stage. Shelly Lee’s sound design ensures the Phantom’s voice emanates from various directions, amplifying a menacing sense of his omnipresence. The iconic riff is revisited at key moments, its shiver-inducing power undiminished – even if Pink Floyd’s Roger Waters has suggested Lloyd Webber borrowed it from the band’s 1971 track “Echoes.”
Jake Lyle delivers a compelling performance as the Phantom, his rich baritone imbuing the character with menace while simultaneously eliciting sympathy for his damaged, diabolical soul. This marks a significant professional debut for the 22-year-old. He is expertly matched with Amy Manford’s Christine, an actress who has previously sung the role internationally. Manford’s vocal clarity beautifully conveys the innocence of the young woman grappling with dark desires. Completing this central love triangle is Jarrod Draper, who brings a dashing and dynamic presence to the role of Christine’s suitor, Raoul.
Among the notable supporting cast members are Debora Krizak, who commands attention as the intimidating ballet mistress Madame Giry, and Jayme Jo Massoud, who shines as Christine’s friend Meg. As the comic duo Firmin and Andre, Brent Hill and Martin Crewes inject a delightful Gilbert & Sullivan-esque humour into their witty patter.
With its characteristic bombast and dramatic flair, this musical feels far more suited to this expansive outdoor setting than it did when it was previously shoehorned onto the Opera House stage four years ago. This 40th-anniversary production stands as the finest Phantom and Opera on the Harbour collaboration to date. On a night that held the potential for turbulent weather, all the elements – including the meteorological ones – coalesced perfectly to create an unforgettable theatrical experience.
“The Diary of Anne Frank” Production Lacks Gravitas
A decade after Anne Frank’s tragic death in the Bergen-Belsen concentration camp, her found diaries were adapted for the stage. The Goodrich and Hackett version, which premiered on Broadway in 1955, garnered both a Pulitzer and a Tony Award, with Anne’s father, the sole surviving member of her family, consulted throughout its development. In the shadow of unimaginable Jewish trauma, the play’s impact was profound.
Transforming the deeply personal document of a teenage genocide victim, which chronicled the day-to-day realities of hiding in Nazi-occupied Amsterdam, into a dramatic stage production is an extraordinary undertaking. Anne’s posthumously published Diary of a Young Girl remains one of the most accessible Holocaust narratives. Anne, a fifteen-year-old girl, is now transformed into a shining legacy: a symbolic figure representing resilience, the tragedy of lost innocence, and the irrepressible spirit of the Jewish people.
Anne’s sunny disposition, even in the face of her harrowing circumstances, is what makes her words so profoundly affecting. However, when dramatised, the experience can sometimes feel surprisingly facile.
Drew Anthony Creative’s presentation at the State Theatre is, at times, alarmingly blithe. Amidst sibling pillow fights, clichéd young romances, and domestic squabbles, the surreal and disconcerting sound of audience members eating popcorn could be heard. The play’s predominantly saccharine tone is amplified by Chloe-Jean Vincent’s portrayal of Anne, a daddy’s girl whose repertoire consists of skips, squeals, and an abundance of precociousness. Her voice chirpsily relays diary entries over speakers at intervals. Holly Easterbrook plays Anne’s mother, her hands clasped nervously, while Phil Bedworth embodies her wise and even-tempered father. Emma Smith portrays Anne’s mousey older sister.
The family’s two-year confinement is further complicated by the presence of the Van Daans, with whom they share limited space and provisions. The arrival of a reclusive and ill-tempered elderly dentist (Jamie Jewell) intensifies the existing tensions. Asha Cornelia Cluer delivers the most impressive performance as the brassy Mrs. Van Daan, while Matt Dyktynski plays her scowlingly aggressive husband. Nathan Hampson portrays their son, a character depicted as rather wet and cringing.
The set design features a tiered upstairs space rendered in sepia tones, with a dining table positioned at the front. Skirmishes and moments of sweetness erupt across the different levels. Despite the imposing Swastikas floating above, these interactions often feel trivialised. Aside from the climactic moment when the sounds of the approaching Nazis are finally heard from below, there are only light-handed evocations of terror or strain. For the most part, the audience is encouraged to chuckle and offer paternal coos.
Bafflingly, the production frequently has the cast miming around invisible props – distributing presents, pouring drinks, or dealing cards. One questions the purpose of this, when surely the imaginative focus should be on the unseen horrors unfolding beyond the confines of their hiding place.
DMA’S Capture Manchester’s Spirit in Sydney
In a city often defined by its sporting allegiances and distinct cultural identities, the feat of creating a “Manchester-by-the-harbour” atmosphere is no small undertaking. This was particularly true on a night marked by unforgiving rain, mixed fortunes in the local football, and a genuinely cold March day. The conundrum for music lovers often lies in choosing between the swagger and psychedelic dance of one scene, or the insolence and big-hook rock of another. Should one opt for old-school harmonies and lyrics that may or may not hold deep meaning, or songs designed for the terraces and the occasional beery, teary ballad?
Sydney’s DMA’s, it seems, embrace a bit of everything. Take, for instance, their track “Silver,” a song made for linking arms with your best mates and declaring that you don’t need a cheesy singalong like “Sweet Caroline” for bonding. Then there’s “Step Up The Morphine,” with its dreamy chords and relaxed vocals. Or consider “Lay Down,” where the bass player channels the groove of Mani and the guitarist delivers lines reminiscent of John Squire. And “So We Know” starts as pure, languid Oasis before exploding into the Stone Roses groove.
And in a venue significantly smaller than they are accustomed to these days – a trade-off for intimacy that ultimately proves the Metro Theatre is a fantastic rock room when packed and pumping, belting out every line of “Tape Deck Sick” – they pull it off spectacularly.
This gig marked the tenth anniversary celebration of their debut album, Hills End (a title, along with the band name, that suggests a rather free-wheeling attitude towards apostrophes). The album was played in its entirety during the first set, and revisiting and remaking the sound of one of north-west England’s music capitals is second nature for the core trio: Tommy O’Dell, the minimalist vocalist with the baggy gear slouch and “lads-with-me” delivery; lead guitarist Matt Mason, the flash of aggression lurking under his cap; and rhythm guitarist Johnny Took, the charismatic showman on acoustic guitar and in a suit.
The weaker moments of Hills End, such as the overly generic “Straight Dimensions” and the harmless “The Switch,” highlight the perils of album-themed set lists and the early days of a band still defining its identity. However, the standout tracks, like “Lay Down,” “Blown Away,” and “Delete,” significantly bolstered by the efforts of unsung hero and tour bassist Jonathan Skourletos, didn’t just please the crowd – who were in full voice from the first note to the raucous conclusion of the night – they elevated them. Job done, then.
Anna Lapwood and the Sydney Symphony Orchestra Explore the Cosmos and Beyond
Max Richter’s Cosmology, a work for organ, orchestra, and choir, embarks on a four-movement cosmic journey of the imagination. The first three movements begin with a quiet, searching spirit, gradually building to increasing levels of intensity. The fourth movement, featuring the chorale Wachet auf (a piece by Philipp Nicolai, known through Bach’s arrangement), opens the mind to a space of quiet meditation.
The first movement, Voyagers, commenced with pulsating sounds from the harp, piano, celeste, and organ, evoking distant signals through space, as other instruments gradually joined in a spirit of quiet wonder. Orian Nebula opened with warm phrases from the horns, the notes slowly overlapping and drifting into dissonance. The Pleiades proved to be the most dynamic, beginning with soft, glistening arpeggios featuring the flute, piano, and the reedier stops of the organ. It swelled in volume and increased in speed, incorporating the female voices of the Sydney Philharmonia Choir and the full organ. The duration of each motive’s notes was varied with each recurrence, creating a compelling sense of simultaneous movement and stasis. Earthrise marked a return, revolving the phrases of the chorale as if presenting something precious.
Richter’s technique of superimposing multiple repetitions of simple motifs, with constantly varying note durations and subtly coloured by warm or icy instrumental timbres, created a profound sense of slowly shifting vastness. The choir and organ added depth and moments of distinctive luminescence.
To provide the showstopping energy that organist Anna Lapwood’s dedicated fanbase had anticipated, the program was preceded by Kristina Arakelyan’s Toccata for solo organ and orchestra. This piece applied unexpected note shortenings and additions to the energetic banality of repeated jabbing chords, while the organ responded with rapid figuration. The middle section adopted a more gnarled rhythm and a darker tone, with chords built in layers on the organ only to be abruptly stripped away, leaving trickling filaments in the orchestra. The encore was a dazzling display of organ colour, an excerpt from her Lord of the Rings symphony.
Following the interval, conductor Andre de Ridder led the Sydney Symphony Orchestra in a richly rewarding performance of Bartók’s masterpiece, Concerto for Orchestra. After a portentous opening from the lower strings, accompanied by awakening distant phrases from the woodwind and brass, the first movement unfolded at a measured pace, allowing for detailed expressiveness and the emergence of the individual players’ musical personalities. The solos in the second movement were tartly pointed, leading into the enveloping openness of the brass sound in the chorale. The third movement, the emotional core of the piece, was still, spare, and haunting. Sydney-based expatriate pianist Elizabeth Kosma shared that the poignantly nostalgic melody of the fourth movement originated from a popular Hungarian operetta, The Bride of Hamburg, by Zsigmond Vincze. As a Hungarian who, like Bartók, felt estranged from her homeland, Kosma viewed the lyrics of the quoted song – “Hungary, you are lovely, you are beautiful” – as a “message in a bottle.” De Ridder took the final movement at a breathless speed, perhaps even a touch too fast, but the orchestra demonstrated a briskly nimble form throughout.
