Theatre Melbourne December 2016 – The final show of the production company’s 2016 season concludes with a spectacular rebirth of Dusty The Musical. Thought, fiction and music. Three traits that define this show in all its glory with an outstanding leading lady in Amy Lehpalmer.
Over the years, we’ve seen Lehpammer grow into the actress she is today, but more than her talent, it’s her humility that inspires us. Every role he plays is given new meaning and new respect. Well, dust is no different. In 2006, this jukebox musical had its world premiere, and 10 years later, it’s amazing to see new life in this classic.
Theatre Melbourne December 2016
Most people know about Dusty Springfield or have heard his great songs. While the storyline itself is a dramatization of events in Dusty’s life that exposes the dark themes of alcoholism and loneliness, it’s really a celebration of his legacy. The show has 36 musical numbers, which is a lot for any musical, and while we loved listening to it, it felt like it was a little too long. Some fat burning can be investigated.
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Interestingly, the creative team assembled a great cast to take us back to the 60s, including Billy Carson as Mary and Brian, Todd McKinney as Rodney, Virginia Gay as Peg and Elena Roccobaro as Reno. These squares, along with Ms. Lehpammer, are what give this play its heart. Nothing speaks louder than the tight bond of family and friendship, and given Mary O’Brien’s rough and tumble childhood, it was wonderful to see the shared values of music and love between them all.
The tender moments shared between young Mary O’Brien and her future husband Dusty Springfield are carefully crafted. Dottie’s spirit was well and truly alive in Mary and it was nothing short of an honor to grow up side by side with them. No pair of actors can paint such delightful portraits, and this in itself is a testament to the openness of this avenue. Dottie’s romantic life was also explored with her one true love, Rhino. Love is difficult in any day and age, but seeing its highs and lows was not only confronting but also sad. Lehpamer and Rokobaro pay homage to this concept beautifully and show how powerful love can be in a world of extreme prejudice.
The show had us on the edge of our seats as it turned into song after song, especially when it came to ‘I Want To Be With You’, ‘Little By Little’, ‘Dancing In The Street’, ‘Wish’. And read Hoppin’, ‘Looking For Love’, ‘I Don’t Know What To Do With Myself’ and ‘A Preacher’s Son’. Michael Rolf’s simple and timely choreography has once again established his creativity in this industry. is in position and a force to be reckoned with. It’s Jason Langley’s beautiful direction and Michael Teck’s wonderful musical direction, and the trio is a powerful creative dream team.
Dusty The Musical is playing at the Playhouse in Melbourne until December 4. For tickets and more information, go here.
Ivanhoe News December 2016 Issue 131 By Ivanhoe Grammar School
This content has recently been moved from its original home at AU Arts and may contain formatting errors – images may not be displayed or duplicated, and galleries may not work. We are slowly solving these issues. However, if you find a major flaw that makes the content impossible to read, please let us know at Admin AT. It seems that Melbourne has always held a special place in the hearts of theatre-goers. This polished production is set to continue the love affair as Rodgers and Hammerstein present a new generation with the classic Pink Hope.
This touring production, created at the London Palladium in 2006, features some of the most interesting designs, but is somewhat lacking in the cavernous Regent Theatre. The magnificence of the auditorium completes the work beautifully; As long as the nuns can process down the aisles, we’re in a real church. However, the immediacy and impact of the story undermines the depth of the seating area.
Robert Jones’ design allows natural elements to move in and out, achieving a cinematic flow. The visual appeal is enhanced by the rich glow and carefully selected shadows from Mark Henderson’s lighting design.
Combining the original stage musical and the beloved 1965 classic, director Jeremy Sams has delivered a version that’s both familiar to moviegoers and a little less saccharine. Even lovable old Max has a dramatic new fate. If there’s one change in the movie that should have overlooked the original book, it’s the placement of “My Favorite Things” in the storm scene.
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While there is a new Von Trapp Kids set for Melbourne, members of the adult cast have been performing and experimenting in the Sydney and Brisbane seasons. Association chairman Gavin Mitford ensured a strong sense of neutrality despite the familiarity of the plot. Only the hardest of hearts will survive when each child hugs their father for the first time.
An important sequence enhanced is the doubling of the captain’s romantic attention. The Captain’s involvement with Elsa and taking Maria in one scene brings Cornish’s high stakes. The romantic tension is joyfully resolved in the movement of “Lundler” during delicate dance performances. Returning in the second act, the modesty and modesty of Maria, in another simple borrowed dress, contrasts with the superficial rudeness and curiosity of Elsa, who wants to know where the property line is. The captain’s growing resentment is slowly telegraphed through the lyrics and choreography of “No Way To Stop It” (the title track), followed by the song’s final stage positions, the unspoken tension of Marian’s return, and Elsa’s poignant but dignified exit. He manages the love scene between the captain and Maria seamlessly.
Sharing the roles with two other actors, on opening night were his six young children, Alexander Glink (Frederick), Darcy McGrath (Louise), Beaumont Farrell (Curt), Karina Thompson (Brigetta), Robbie Moore (Martha) and . Heidi Sprague (Gretl). Beautiful young triple threat Stephanie Jones remains as her eldest daughter, Liesel. The lads duly bring the house down with ‘Do Re Me’. While it’s nearly impossible to pick highlights from this talented group, Pharrell has a particularly sweet, beautifully sung moment when Kurt sings with his dad on “Idolways.”
Back home, Amy Lehpammer is set to show Melbourne all the ways she can live up to the potential she has shown over the past few years. Giving a fresh, thoroughly engaging performance as Maria, Lehpammer is funny, tough, sensitive, poignant, fast-paced, open and elegant. He sings with an original, expressive chest voice and clear, high notes. This is a true star that fans of Lehpalmer Legions will deserve.
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On stage at Melbourne’s State Theatre, renowned multi-talented artist Jacqueline Dark moves from opera to musical theater and plays the soulful Mother Abyss. Sometimes the role is played by an older singer, but Dark, well and truly in his prime, raises the roof at one end of “Climbing Mount Avery”.
The final incarnation of the Captain as a gentle and loving father comes naturally to Cameron Dado, who tries to find new strength in the early scenes where the Captain feels grief and self-pity. Overall, Dadu strengthened the arc of the character by adding impact to the role.
While the role of Elsa is usually played with a very cruel, haughty, irresistible edge, highly accomplished actress Marina Pryor continues the role’s soft and tender side. While this somewhat dilutes the clarity of the captain’s choice, Pryor finds enough empty arrogance in the role to contrast him enough with Maria. David James avoids camp by emphasizing the character’s role in the turmoil and anger surrounding the introduction of the new regime, as self-serving artsy editor Max Detwiler. This article is about theater in Australia. For theater techniques by Augusto Boal, see Theater of the Forum. For the theater in the United States, see Forum Theater (Washington, DC).
The Forum Melbourne (originally the State Theatre) is a live music, cinema, theater and auditorium located on the corner of Flinders Street and Russell Street in Melbourne, Australia. Built in 1929, this building was designed by John Eberson, the pioneer architect of US “picture palaces”, in collaboration with the local architectural firm Boehringer, Taylor & Johnson. Designed as an “atmospheric theater,” the interior is designed to create a Florentine walled garden, complete with a pink-blue ceiling sprinkled with stars that twinkle like lights, mimicking the evening sky.
Theatre Review: Dusty The Musical
The sites of the Morning Post Herald building (in Flinders Street) and the State Immigration Office (in Russell Street) were taken over by Ruf-Nailor’s Empire Theatre.
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