Melbourne Observer - Wednesday, October 10, 2012 - Page 43
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Radio Confidential: News around Victoria .... Page 44 Theatre: Barassi meets Barassi cast ................ Page 51 The Spoiler: For those who have lost the plot ........ Page 51 Cheryl Threadgold: Local, independent theatre ......... Page 53 Jim and Aaron: Movies, DVDs, top 10 lists .................... Page 54 PLUS THE LOVATT”S MEGA CROSSWORD
PROBLEMS, PROBLEMS Everything old is new again
Congratulations to Dionyus
● Russell Morris, John Paul Young, Brian Cadd, Jon Stevens and Jim Keays in Long Way To The Top ■ The age of the opening act of Long Way To The Top at the Rod Laver Arena last Friday night was a sprightly 76 years of age. Aussie rock n roll legend Col Joye, looking years younger than his 1936 birthdate, delighted the crowd of many thousands, celebrating the 10th anniversary of the stellar concert staged by promoter Michael Chugg, and dedicated to the late Billy Thorpe. Col efortlessly rolled out Clementine, Byebye Baby and Be Bop A Lula as if he were a 20-year-old on Brian Henderson’s Bandstand. (Did he really twice yell “Are YOUSE ready?”) The title of Friday night’s concert, Long Way To The Top, could have easily described the battle by some of the ageing patrons negotiating the steep stadium stairs of Rod Laver Arena ... but there were few complaints about the geography, or the entertainment. Patrons generously applauded a great collection of rock n roll ‘goldies’: Lucky Starr (71), Glenn Shorrock (68), Spectrum’s Mike Rudd (67), Dinah Lee (66), Jim Keays (66), Doug Parkinson (66) and Brian Cadd (65). Some of the youngsters were Russell Morris (64), ‘Little Pattie’Amphlett (63), John Paul Young (62), Todd Hunter (61). Marcia Hines (59) and Ian Moss (57). The baby was Jon Stevens (49) of Noiseworks. All had a ball. But the stand-out was the great, late Billy Thorpe, now ageless, and lovingly remembered. Yes, I was at his Melbourne Town Hall concert in 1972. Yes, I was at Sunbury. The creatives put together a powerful night with the motto “if it’s too loud, you’re too old”. Congratulations to Executive Producer Amanda Perlman, genius director Ted Robinson, musical director and choreography William A Forsythe. The show had all the glitches that accompany rock and roll. Misfired videos. Some audio stuff-ups. A botched intro. Chuggi trademark swearing. Whatever! The crowd loved it. The set list of about 47 numbers included Little Pattie with Real Gone Surfer Boy and Stompin At Maroubra. The dancers gave raunchy energy all night long, but particularly to the stomp. Plaudits to dance captain Deanne Barry, and the team of Georgia Punchard, Amy Van De Wetering, Brianna Newton, Amy Baxter and Lyndell Harradine. Lucky Starr performed his own I’ve Been Everywhere, and - complete with white coat - reminded us of Johnny O’Keefe with Shout. Just as she did at Dennis Smith’s Go! Show Gold reunion, Dinah Lee rocked with Yokomo and Reet Petite. Turn To Page 51
● In Exit The King, King Berenger (Zoran Babic) disbelieves he will die by the end of the play.\ Photo: Felicity Holt ■ Innovative new theatre company Dionysus Theatre opened last week at McClelland College, Karingal, with its inaugural production of Eugene Ionesco's semi-autobiographical absurdist comedy, Exit The King. Dionyus Theatre has a lot going for it. Talented founder and director Emma Sproule (2011 Victorian Drama League winner for Best Director of a Comedy/ Head of Performing Arts at McClelland College) has attracted a high calibre cast and crew to join her new venture. Ionesco wrote Exit The King in French in 1962 and it was later translated by Neil Armfield and Geoffrey Rush for the 2007 production at the Malthouse and Belvoir Theatres. Having lived for 400 years and achieved amazing feats, King Berenger is dying and his reign and kingdom are in ruin. He is in denial and when reassured we all die, rightly protests "but nobody living has!" His first wife Queen Marguerite accepts the inevitable, whereas second wife Queen Marie remains optimistic. The play also raises some serious contemporary issues. The cast of six includes articulate Matt Allen as the elegant doctor, Jesse Thomas as the entertaining guard and expressive Beck Benson as Juliette, the domestic help. Zoran Babic brilliantly portrays King Berenger from camp joviality to the dramatic end, while Annabelle Tudor's (Queen Marguerite) strong, commanding presence contrasts beautifully with Amelia Hunter's delightful depiction of the melodramatic Queen Marie. These actors would shine in any performance arena. Sproule's direction using a minimalistic set is complimented by Peter Amesbury's artistic lighting design. The Renaissance costumes cleverly symbolise rebirth after death, while costumed gods and goddesses look great greeting patrons on arrival. Congratulations Dionyus Theatre. Your future will be exciting to observe. Performances: Friday, October 12 and Saturday, October 13 at 8.00pm. Venue: McClelland College Performing Arts Centre, Karingal (Entry via Alexander Crescent). Please note: The entrance from Alexander Crescent is hard to find in the dark, but it is there! Tickets: $30 full price, $25 concession. Bookings: www.trybooking.com/brib Enquiries: bookings@dionysustheatre.com.au - Cheryl Threadgold
● Matt Hetherington, Marina Prior in Promises, Promises ■ We have a dilemma in presenting a honest review to our readers about Promises, Promises, staged by The Production Company last week at the State Theatre, Arts Centre. Observer Showbiz loves to witness any production that brings work to Melbourne’s actors, musicians, creatives and theatre community. Jeanne Pratt’s Production Company has consistently done this for 14 years, and over the past two years has hit a new high in its stride, including a number of well-deserved Helpmann Awards for its shows. Promises, Promises - starring Matt Hetherington and Marina Prior - followed on this year from Chess starring Silvie Paladino, and Mel Brooks’ The Producers. The mayhem of The Producers created TPC’s best-ever show for years. However, Promises, Promises fell short. But there are a number of qualifications: Matt Hetherington nailed the character of insurance office junior executive Chuck Baxter. PP is a long show, and Matt was line perfect from the 7.30pm start to the 10.30pm finish. That is a big ask. Marina Prior also performed well, and was able to show off her quite incredible vocal range. But, as one critic commented, perhaps it was more a comic role that should have been cast for the ‘out there’ Sharon Millerchip. Chelsea Plumley added much-needed ‘zing’ to the second act with her comic portrayal of ‘floozy’ Marge MacDougall. Robert Grubb was excellent as Dr Dreyfuss; he delivered comic lines that worked, other cast members weren’t so proficient. We are not the only ones to conclude that PP fell short. The well-respected Simon Parris of Theatre People concluded: “the show itself and several creative aspects are somewhat below standard.” Parris rightly speaks of the Bacharach 1960s sound becoming “tedious”. The paradox is that the music was faultlessly presented by Guy Simpson and 22 members of Orchestra Victoria. Parris remarks that “successful film director Nadia Tass seems to be somewhat out of her elemnt directing for the music theatre stage”. Sadly, the observation is quite true. Tass directs actors to repeatedly use a mime that they are opening and shutting imaginary doors. It is over-acting, it breaks the spell. Especially when some actors remember the mime and others do not. The audience gave a hearty laugh when Marina Prior’s character walked - unmimed - through an imaginary wall. Turn To Page 51