Theatre 2012

So Al and I have been joking that you can tell we're getting old because we're starting to swap music gigs for theatre productions. 


26/10/2012 Les Miserables @ Riverside Theatre (Riverside Lyric Ensemble)

Musically the cast and orchestra of this production were very good; at the start, it even sounded (spookily) similar the CSR but the main actors managed to give their very well-known parts a bit of their own character. My only quibble musically would be that the whole show was played at a quicker tempo than I'd like, which gave some of the more emotional moments a rushed feeling (though it possibly allowed the quite long show to end at a decent hour??). 

The actor playing Valjean was the standout, vocally and in acting. Eponine was also great in her part vocally, and she had the best death scene with a fantastically judged performance of A Little Fall of Rain; but bizarrely, she also decided to play all her scenes with Marius with hunched shoulders and sagging posture as if she were Gollum watching over his precious...it was very distracting. 

The major problem with this production was probably direction, or lack of it. It was particularly noticeable in how movement around the stage was terrible; often actors were left to sing their solos at the front of the stage as if in recital rather than in a theatrical performance, and in some group scenes the energy of the main performances would be sapped by background characters haphazardly moving across the stage into each other's paths and in distracting ways.

I went with a mixed group of friends, from Les Mis diehard fanatics to someone who turned to me after the show and asked, in all seriousness, "So tell me about this French Revolution thing". So I think the fact that everyone really enjoyed it speaks to the appeal of the musical despite the flaws to be expected from an (semi-)amateur production. 

20/10/2012 Much Ado About Nothing (Globe Shakespeare on Screen)

This would've been so much fun to see in person, I think, and even on film it comes across as a really charming production that handles the balance between comedy and drama in this play really well. Beatrice and Benedick's sparring never gets tiresome and still gets laughs, no matter how many times I've seen/heard it. Nice, simple staging and I loved how the actors used the audience as part of their performance!

30/9/2012 Private Lives @ Belvoir

Fairly straight-forward adaptation, though in modern-dress with some other anachronistic touches that mostly worked (still not quite sure about that Phil Collins moment). Very funny, and the actors did well with the furious pace of Coward's cracking script, but there's still a weird disconnect when your brain registers the casual racism and the violence against women that's just laughed off.

6/7/2012 The Duchess of Malfi @ Playhouse, Opera House (Bell Shakespeare)

Oooh, depressing. I mean, any synopsis of the plot would make that clear but geez, when it's compacted down like this it's just one terrible thing after another. Coupled with a dark, claustrophobic set full of sharp edges and it was all a bit much after a while. Lucy Bell delivered a nice, subtle performance of as the Duchess but the male cast veered between OTT villainy and blank ambiguity. 

19/5/2012 Les Liaisons Dangereuses @ Wharf 1 Theatre (STC)

Simple and elegant staging, overall really good production with particularly strong performances by the female cast. Justine Clark was heartbreakingly lovely as Tourvel. Pamela Rabe was great too, though almost unrecognisable in her grey wig. But - and it's probably an unpopular opinion - I thought Hugo Weaving was a bit too arch in this, even allowing for the source material. 

21/4/2012 Macbeth @ Drama Theatre, Opera House (Bell Shakespeare)

Hm. Great staging - instead of the traditional stone walls of Scottish castles, it all takes place on an empty, grassy stage with a mirror above casting a reflection that serves to make the emptiness seem ever darker and more foreboding. Interesting choice to collapse the three witches into one portrayal, using body shape and voice distortion to bring a creepy, eerie tone to Lizzie Schebesta's intriguing performance. 

But overall, I didn't enjoy this - didn't enjoy the choice to sexualise Macbeth's connection with the witches, didn't enjoy Katie Jean Harding once again histrionically playing another bereaved mother, didn't enjoy the way it dragged and dragged even as it got closer and closer to everything falling to pieces. 

24/3/2012 This Is Our Youth @ Drama Theatre, Opera House
Really enjoyed this. Despite it being a play written in the 90s about kids in the 80s it still felt relevant and applicable to the predominantly (and unusually) young audience watching 20, 30 years on. I like that Lonergan managed to capture a portrait of youth that's going to feel true even if the clothes, the drugs, the phones and presidents keep changing. 

The three young actors were all very good. Michael Cera played to type as the hapless perpetual screw-up Warren, and at first his distinctive voice took a little getting used to in a live setting, but he is a very good, subtle physical comedian and he also managed to bring to surface surprising moments of joy and choked-up sadness in turn. Emily Barclay was all coltish teenage girlishness and nerves, perfectly performed. But Keiran Culkin was the best as the fast-talking Dennis, full of barely-suppressed rage. He owned the part so well that we were surprised to find out afterwards that he'd originally played Warren in a NY production! 

**


I also saw the all-male production of Pirates of Penzance at Sydney Theatre, which was very enjoyable and provided a lot of food for thought about gender roles, but I forgot to make notes on that...

Anyway, I have a Belvoir subscription for next year (5 plays!) and I'm hoping to get some tickets to some of the major productions STC will put on, so bring on 2013! 

Les Misérables (2012, d. Tom Hooper)

Unpopular opinion time...

So the Boxing Day movie for this year was the new Tom Hooper directed version of Les Misérables. Some of you have asked what I think of it, and some of you unfortunate souls who saw it with me already heard this rant, so I apologise in advance.

That said, I stand by my opinion that this a bad movie. It's still a fantastic musical, but it is a bad film.

Seriously, Tom Hooper confirms for me with this movie that he is completely undeserving of that Oscar. The direction is DIRE. It's stolid, heavy-handed, unimaginative and ridiculously literal. 

Though the religious aspect is obviously a big part of the story with the key themes of mercy and grace, of justice and repentance, Hooper again goes for entirely unsubtle visual reminders on top of the lyrics and story, hammering home the Christ-parallels for Valjean, and he didn't seem to meet a cross he didn't want to shoe-horn in. 

And the whole thing, despite the roller-coaster vista shots, and the many changes of time and place, still feels frustratingly static, with performers moving awkwardly around sets while singing their key songs (e.g. Valjean singing What Have I Done while pacing the chapel, Javert singing Stars while standing figuratively and literally on the edge of the fakest looking Paris ever, Marius singing Empty Chairs and Empty Tables, etc etc). The camera does nothing but twirl around them and up their noses while they sing, and the pace slows to the a crawl. It's perfectly standard for the stage show, but it begs the question: why bother translating it to film if you're not going to use that to your advantage at all?

So that the movie succeeds as a piece of entertainment at all is in spite of Hooper's work, is because there's still some fantastic performances, and the story and music itself remain wonderfully involving and moving. 

Anne Hathaway stood out the most for me; she does her best with a rushed sequence of Fantine's fall from grace, and I Dreamed a Dream is so heartrendingly good, from her singing to her huge, sad eyes, the way she can subtly convey the change from bitter reminiscence to dead-eyed present within the performance...it was probably the most emotionally true moment of the film. 

Hugh Jackman is great too as Valjean, though I expected as much, and I was also pleasantly surprised by how much I liked Eddie Redmayne as Marius, both acting-wise and vocally. Most of the others in the main cast are good, if not outstanding: Amanda Seyfriend makes a beautiful Cosette and her clear, high voice works for the character; Samantha Barks sings Eponine a little more stagey than the others but is fine; Aaron Tveit is a suitably stern and a little fanatical as the idealistic Enjolras; Helena Bonham Carter was better than I thought she would be 'cos much as I love her she's not a great singer, but the part of Madame Thenardier calls more for comic timing than singing ability, and she got great laughs from the audience. 

While Sacha Baron Cohen couldn't quite match her as Thenardier and was given some incredibly broad humour to carry, he was not the worst performer - that title would fall to Russell Crowe, who clearly struggled vocally with the demanding role of Javert. His higher register was noticeably weak, verging on nasal, and he didn't have the vibrato which meant a lot of his lines were clipped and lost their power. And he didn't give his actual performance a lot of colour either, so overall it was just plain that he was out of his depth with this. 

In the end, I couldn't hate this movie because of my love for the musical, and I don't regret the 3hr+ sitting. But I spent more time thinking about what was wrong with it, and snorting about the literalism and the anvil-ly emotionalism, than actually being carried along with it. And my impression on coming out of the theatre was not 'what a beautiful, grand and uplifting end!', but rather 'Tom Hooper, you hack'.