Sydney Theatre Awards 2015

AT the Sydney Theatre Awards no one need ever fear a journalist asking them “who are you wearing” or indeed have any need of a stylist. There is no red carpet at the Paddington RSL, there are no TV cameras. The proceedings could be described as low-key, or even a little bit daggy if you wish, but it is always such a happy night. Yes, theatre practitioners are in competition with one another for our awards – I’m one of the Sydney critics whose votes determine the winners – but there is great warmth and good will in the room. As Belvoir’s new artistic director Eamon Flack said on Monday night when the awards for 2015 were announced, this is the one occasion when the industry gets together.

It’s also an occasion on which the tables are turned, slightly, on the critics, as we troop onstage to introduce presenters, ask those present to remember colleagues who have died in the past year, announce special awards and pay tribute to all the theatre workers who never get awards but whose backroom toil is essential. We’re always frightfully nervous about getting up in front of a room of theatre professionals but they are very kind.

This year’s highlights included passionate state-of-the-arts speeches from Flack and from Griffin’s artistic director Lee Lewis; a fantastically funny version of My Favourite Things specially written for the occasion by Dash Kruck and performed by him; a gorgeously heartfelt acceptance speech from James Millar when he won best supporting actor in a musical for his Miss Trunchbull in Matilda; Esther Hannaford’s performance of I’ll Hold On from the Nick Enright-Max Lambert musical Miracle City that got the audience to its feet (Lambert was on piano); and the bright presence of the four little girls – Molly Barwick, Sasha Rose, Georgie Taplin and Bella Thomas – who shared the role of Matilda and received our Special Achievement Award.

The Lifetime Achievement Award was accepted by Christine Dunstan, a woman steeped in many aspects of theatre for more than 50 years since starting her working life as an assistant stage manager. She founded her production company CDP in 1993 and it has been particularly active in making high-quality theatre for children. (CDP won the 2015 Sydney Theatre Award for best production for children for The 52-Storey Treehouse.) CDP also takes productions to many regional Australian centres and tours productions internationally.

Ivanov

Belvoir’s Ivanov: Ewen Leslie, centre on the sofa, with John Howard, AirlieDodds, Blazey Best, Helen Thomson and John Bell

2015 SYDNEY THEATRE AWARD WINNERS

BEST MAINSTAGE PRODUCTION

Ivanov (Belvoir)

BEST INDEPENDENT PRODUCTION

Of Mice and Men (Sport for Jove and Seymour Centre)

BEST DIRECTION OF A MAINSTAGE PRODUCTION

Eamon Flack (Ivanov)

BEST DIRECTION OF AN INDEPENDENT PRODUCTION

Iain Sinclair (Of Mice and Men)

BEST ACTRESS IN A LEADING ROLE IN A MAINSTAGE PRODUCTION

Eryn Jean Norvill (Suddenly Last Summer)

BEST ACTOR IN A LEADING ROLE IN A MAINSTAGE PRODUCTION

Hugo Weaving (Endgame)

BEST ACTRESS IN A LEADING ROLE IN AN INDEPENDENT PRODUCTION

Kate Cole (Grounded)

BEST ACTOR IN A LEADING ROLE IN AN INDEPENDENT PRODUCTION

Thomas Campbell (Misterman)

BEST ACTRESS IN A SUPPORTING ROLE IN A MAINSTAGE PRODUCTION

Blazey Best (Ivanov)

BEST ACTOR IN A SUPPORTING ROLE IN A MAINSTAGE PRODUCTION

John Howard (Ivanov)

BEST ACTRESS IN A SUPPORTING ROLE IN AN INDEPENDENT PRODUCTION

Taylor Ferguson (Good Works)

BEST ACTOR IN A SUPPORTING ROLE IN AN INDEPENDENT PRODUCTION

Jeremy Waters, James Bell, Ben Wood in The Aliens (c) Rupert Reid

James Bell, centre. Photo: Rupert Reid

James Bell (The Aliens)

BEST STAGE DESIGN OF A MAINSTAGE PRODUCTION

Nick Schlieper (Endgame)

BEST STAGE DESIGN OF AN INDEPENDENT PRODUCTION

Michael Hankin (Of Mice and Men)

BEST COSTUME DESIGN OF A MAINSTAGE PRODUCTION

Alice Babidge (Suddenly Last Summer)

BEST COSTUME DESIGN OF AN INDEPENDENT PRODUCTION

Angela White (Heathers)

BEST LIGHTING DESIGN OF A MAINSTAGE PRODUCTION

Paul Jackson (Love and Information)

BEST LIGHTING DESIGN OF AN INDEPENDENT PRODUCTION

Hartley TA Kemp (Misterman)

BEST SCORE OR SOUND DESIGN OF A MAINSTAGE PRODUCTION

The Sweats (Love and Information)

BEST SCORE OR SOUND DESIGN OF AN INDEPENDENT PRODUCTION

Nate Edmondson (Misterman)

BEST NEW AUSTRALIAN WORK

The Bleeding Tree (Angus Cerini)

BEST NEWCOMER

Lauren McKenna (Heathers)

BEST ENSEMBLE CAST

After Dinner (Sydney Theatre Company)

BEST PRODUCTION OF A MAINSTREAM MUSICAL

Matilda (The Royal Shakespeare Company, Louise Withers, Michael Coppel and Michael Watt)

BEST PRODUCTION OF AN INDEPENDENT MUSICAL

Violet (Blue Saint Productions in association with Hayes Theatre Co)

BEST DIRECTION OF A MUSICAL

Mitchell Butel (Violet)

JUDITH JOHNSON AWARD FOR BEST PERFORMANCE BY AN ACTRESS IN A MUSICAL

SOM5070_Production-Photography-by-James-Morgan_R-1024x681

Amy Lepahmer. Photo: James Morgan

Amy Lehpamer (The Sound of Music)

JUDITH JOHNSON AWARD FOR BEST PERFORMANCE BY AN ACTOR IN A MUSICAL

Hayden Tee (Les Miserables)

BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A MUSICAL

Elise McCann (Matilda)

BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A MUSICAL

James Millar (Matilda)

BEST MUSICAL DIRECTION

Lucy Bermingham (Violet)

BEST CABARET PRODUCTION

Josie Lane (Asian Provocateur)

BEST PRODUCTION FOR CHILDREN

The 52-Storey Treehouse (CDP)

BEST PRODUCTION FOR YOUNG PEOPLE

War Crimes (ATYP)

SPECIAL ACHIEVEMENT AWARD

Molly Barwick, Sasha Rose, Georgia Taplin, Bella Thomas (Matilda)

MOLLY_BARWICK_AND_ELISE_MCCANN_PIC_BY_JAMES_MORGAN

Molly Barwick with Elise McCann in Matilda. Photo: James Morgan

LIFETIME ACHIEVEMENT AWARD

Christine Dunstan

Opera and musical theatre in 2014

MUSICAL theatre in Sydney got a boost in 2014 with the arrival of Hayes Theatre Co. When Darlinghurst Theatre Company won the residency at the lovely new Eternity Playhouse, a group of music-theatre producers collectively known as Independent Music Theatre took over the Darlinghurst’s former premises, a small theatre in Greenknowe Avenue, Potts Point. They named their venture after legend Nancye Hayes and got off to a cracking start with Sweet Charity in February.

Indie group Squabbalogic Independent Music Theatre was originally part of the group, but quietly withdrew during the year and recently staged its Sondheim on Sondheim at the Reginald, the Seymour Centre’s smallest theatre space – and an endearing one too. Squabbalogic will be seen there again in 2015.

Regular work from both groups gives Sydney a strong alternative to the handful of mega-musicals that hog the city’s pitiful number of big houses for long runs.

On the opera front a three-tier system (albeit a lop-sided one) is settling in. Brilliant young outfit Sydney Chamber Opera, which concentrates on new work and Australian premieres of small-scale operas, now has a residency at Carriageworks. That should give it some extra security. Since 2002 Pinchgut Opera has performed works rarely heard in Australia, often from the baroque period. This year it staged two operas for the first time since its inception and will do so again in 2015. Last month Pinchgut and Opera Australia announced that Pinchgut would be given office space at OA’s Opera Centre in Surry Hills. OA has in the past helped with rehearsal space, costumes and props but in a show of solidarity has increased its commitment. Pinchgut made it clear it would be retaining its independence.

At the big end of the market is Opera Australia, obviously, but let’s not forget Sydney Symphony Orchestra. It presents only one semi-staged production a year but the scale of the music-making is tremendous and unmissable. For OA it hasn’t been the happiest of years, with the organisation regularly and severely criticised. I’ll talk about some of those things in a later blog on the year’s arts issues. For now, let’s look at what I loved in 2014. As with theatre, my favourites are presented in order of transmission. They include operas and musicals seen in New York and London.

OPERA

His Music Burns, Sydney Chamber Opera at the Sydney Festival (January): This was an entrancing double bill of rarities, both Australian premieres. György Kurtág’s … pas à pas – nulle part… and George Benjamin’s Into the Little Hill were seen in elegant, spare productions and performed with musicianship of the highest order. Really special

Anna Netrebko in L’Elisir d’amore, Metropolitan Opera, New York (February): What to say about Netrebko except that she is deservedly a huge, huge star. Apart from having a voice of dark beauty, electrifying power and easy flexibility, Netrebko’s was a divinely acted Adina: strong, funny and touching. The sexy bass-baritone Erwin Shrott played Doctor Dulcamara as a very naughty boy indeed and with a voice to die for. Apparently the separation late last year of Shrott and Netrebko after a long personal partnership hasn’t affected their work. They seemed very jolly together on stage. A fabulous night.

Anthony Minghella’s production of Madama Butterfly, Metropolitan Opera (February): I’d longed to see this for years and I wasn’t disappointed. The setting is little more than a dark, glossy void that subtly reflects the action. Within are simple white screens that move to create a space or camouflage the removal of things or people. It could be seen as a giant lacquer box with white compartments, which seems an excellent place to put Butterfly, and Butterfly. It’s not an intimate setting, but the high artifice – for me at least – heightened the emotional content. The crowning effect is the use of Bunraku puppetry, most fascinatingly and powerfully to represent Butterfly’s little boy. I heard Cio-Cio-San sung by South African Amanda Eschalez. When this production comes to Perth International Arts Festival in February it will feature the soprano who originated the role for Minghella, Mary Plazas.

Christine Goerke’s Elektra, Sydney Symphony Orchestra (February): Goerke’s soprano is a huge instrument, full, plush and radiant with no sense of strain despite having to soar over the mighty forces of David Robertson and the SSO in the Concert Hall. Elektra’s is a magnificent obsession despite the madness underpinning it. Goerke gloried in the woman’s unwavering pursuit of justice and gave it a terrible beauty. She was incandescent in a production that really was very close to being fully staged. The SSO produces music dramas on a scale impossible in the Joan Sutherland Theatre – the last time Elektra was heard in Sydney was in 2000 as part of the Sydney Festival, in a production at the Capital Theatre with Deborah Polaski as Elektra and Simone Young conducting the SSO.

Eugene Onegin, Opera Australia (March): It was somewhat disheartening to see that OA believed – and I imagine it was correct – it could sell only eight performances of Eugene Onegin. It is such a ravishing piece. One could quibble about aspects of Kaspar Holten’s production – a co-production with the Royal Opera House, Covent Garden and Fondazione Teatro Regio, Turin – but there was no quibbling where Nicole Car is concerned. She was greeted at the curtain with stamps and cheers after a glorious Tatyana and deserved every accolade she has received. The young singer – she is not yet 30 – is in full bloom. Her soprano is richly coloured, lyrical in quality and gorgeously produced from top to bottom, and Car looks a dream on stage.

Madama Butterfly, Handa Opera on Sydney Harbour (March): Japanese soprano Hiromi Omura was all-conquering in the production designed and directed by La Fura dels Baus. Her desperate realisation that she was being abandoned and her son removed saw her racing across the mighty outdoor stage in frantic anguish. It was devastating.

Robert Carsen’s production of Poulenc’s Dialogues of the Carmelites, Royal Opera, London (May): Carsen’s 2002 version, staged for the first time at Covent Garden this year, was exceptionally spare and beautiful. The set was almost non-existent, with the drama created by the women singing the doomed nuns and a vast force of chorus members, extra chorus and actors who formed a chilling, menacing mob. Simon Rattle conducted and Sally Matthews was a luminous Blanche. A special night.

Sydney Chamber Opera’s Mayakovsky, by Michael Smetanin and Alison Croggon (July): Yes, SCO bobs up again. Seeing and hearing their work is as bracing as it gets. New music, new libretto, intelligent production, cracking performances. What’s not to like?

Don Giovanni, Opera Australia (July): Who knew the Joan Sutherland Theatre stage could look this big? Designer Robert Jones worked all sorts of magic for David McVicar’s Gothic-tinged production of Mozart’s dramma giocoso, strewing bones and skulls about and putting centre-stage an imposing stairway that was never going to lead to heaven. Our anti-hero was a dead man walking among the undead.

Iphigénie en Tauride, Pinchgut Opera (December): Pinchgut knocked it out of the park again. Lindy Hume’s direction, Tony Assness’s set, Alistair Trung’s costumes and Matthew Marshall’s lighting were perfectly judged to make virtues of the City Recital Hall’s strict limitations for dramatic presentation. There’s nothing limited about the hall’s acoustic, in which the opera glowed. Caitllin Hulcup (Iphigénie) and Grant Doyle (Oreste) were on fire and the women of choir Cantillation, Pinchgut’s chorus of choice, were particularly outstanding. Under Antony Walker, the Orchestra of the Antipodes honoured Gluck’s ravishing music with a performance that made the senses reel and the heart sing.

MUSICAL THEATRE

A Gentleman’s Guide to Love and Murder, Broadway (February): If you’ve seen the 1949 film Kind Hearts and Coronets you know the story (the source material is a book by Roy Horniman). Impoverished Monty Navarro discovers he comes from aristocratic stock. Only eight members of the D’Ysquith family stand between him and a title. Alec Guinness memorably played all members of that august family (called the D’Ascoynes in the movie); in this witty, sweet and beautifully staged musical that particular gauntlet was taken up by Jefferson Mays, who was pure delight. Steven Lutvak (music and lyrics) and Robert L. Freedman (book and lyrics) wrote extremely jolly songs with a light music-hall touch that feels authentic. Monty’s love interests, Sibella Hallward and Phoebe D’Ysquith, are high soprano roles and the clear, silvery sound is a million miles away from the big power-ballad sound so often heard in contemporary musicals. Alexander Dodge’s set design put a dear little stage within the stage, complete with a swooshing red curtain that falls to hide the next scene change. And there were many, all executed with much flair.

What’s It All About? Bacharach Reimagined, New York Theatre Workshop (February): The stage was decked out with a jumble of old sofas, a tower of guitars with a few other objects thrown in, rugs on the walls and many glowing lamps. It looked like an explosion in a student bedsit, only more welcoming. The show was devoted, obviously, to the songs of Burt Bacharach and his main-man lyricist Hal David (plus some others). The music issued in a continuous stream to suggest – nothing more – a scenario of love and loss and the songs stood up brilliantly to loving reinterpretation. What’s It All About? presumably introduced this imperishable repertoire to a generation not terribly familiar with it, but for someone of my age it was 90 minutes of bliss during which one smiled foolishly, mouthed the words, and thought of days now long gone.

Sweet Charity, Hayes Theatre Co (February): It was down-sized, dirtied up and worked a treat. So much so that it’s soon embarking on a return season in rather bigger venues. Dean Bryant’s conception of the piece showed how powerful it can be to have to think small. In large-scale productions, when Charity sings I’m a Brass Band you’re likely to get just that. On a stage roughly the size of two dozen hankies, it was less easy to pretend that Charity Hope Valentine, a dancer stuck in a crumby dive, is just a sweet little goofball whose romantic mishaps pass as quickly and painlessly as summer rain.

The Drowsy Chaperone, Squabbalogic Independent Music Theatre at Hayes Theatre Co (March): This was one for the music-theatre nerds, and what a beauty. The Drowsy Chaperone purports to be the reflections of an everyman who just wants to take away from the theatre a tune he can hum, having enjoyed some pretty costumes, an amusingly tangled plot, a happy ending and definitely no audience participation. The show will preferably be short. On comes the musical within a musical, also called The Drowsy Chaperone. It is silly and formulaic, thus allowing The Drowsy Chaperone (the host musical) to shamelessly have it both ways. Creators Bob Martin and Don McKellar (book) and Lisa Lambert and Greg Morrison (music and lyrics) pay genuine homage to good old-fashioned entertainment while sending it up mercilessly. Our everyman, Man in Chair, yearns for the wit and glamour of Cole Porter but there is only the flimsiest facsimile of it in The Drowsy Chaperone. There’s a reason they don’t make ‘em like that any more, but also why there’s nostalgia for earlier, more graceful times.

Miss Saigon, Cameron Mackintosh, London (May): Producer Cameron Mackintosh says it is the musical he was most asked to revive, so he did it. This Vietnam-war era version of Madama Butterfly has been given a terrific new production and its poignancies still resonate as vividly as they did when the show first opened in 1989.

Les Miserables, Cameron Mackintosh, Melbourne (July): The musical is still selling its socks off so this is a revival of something that never went away. It’s not subtle theatre or intellectual theatre. It is the theatre of the direct hit to the heart; a big story told in bold strokes. The new version, which opened in Melbourne and is Sydney-bound, is very, very well done indeed.

Britney Spears: The Cabaret, starring Christie Whelan-Browne (August): I’d seen this before but it certainly bore repeating. Under the direction of Dean Bryant, who also wrote the show – him again! He’s everywhere! – Whelan-Browne channeled the pop star and her music to demonstrate the corrosive effect of fame on a kid who became the family bread-winner way, way too early. This wasn’t satire; it was tragedy. Whelan-Browne has performed Britney off and on for some years and it looks, sadly, as if it’s had its last outing.

Miracle City, Hayes Theatre Co (October): Nick Enright and Max Lambert’s 1996 musical finally got the revival so many music-theatre lovers wanted, and it was good. Barnstorming Christianity and a lust for worldly achievement combined to explode spectacularly within the 90-minute span of a Sunday morning televangelism show. Echoes of A Doll’s House were loud in Blazey Best’s terrific performance as an obedient wife who’d been married far too young.

The Legend of King O’Malley, Don’t Look Away (December): The rollicking Michael Boddy-Bob Ellis political musical got a rough-and-tumble revival that honoured the spirit of the piece and – ouch! – did not feel at all like a period piece.

On Monday: Dance

Raise the roof

Hayes Theatre Co, Sydney, October 22

GLORY hallelujah! Miracle City has been resurrected. It is alive and it is well, if a little in need of fine-tuning.

An explanation for those not steeped in music-theatre lore: in 1996 Nick Enright and Max Lambert’s show had a short season at Sydney, Theatre Company and it was good. But for various reasons it wasn’t revived and soon acquired quasi-religious status. But to every thing there is a season and Miracle City has found a natural home at Hayes Theatre Co, with its 110 seats and committed music-theatre audience. The small, bare-bones space is perfect for Miracle City’s setting, a regional Tennessee television station from which the Truswell family conducts its evangelical Christian ministry and tries to raise money for an ill-considered theme park.

Josie Lane, Marika Aubrey and Esther Hannaford. Photo: Kurt Sneddon

Josie Lane, Marika Aubrey and Esther Hannaford. Photo: Kurt Sneddon

Michael Hankin’s rudimentary set of a sparkly curtain, a few monitors and some backstage bits and bobs strikes exactly the right note. The Truswells have a long-standing ministry but they are nowhere near the league of the Reverend Millard Sizemore, a bully with a private jet, oily authority and vast sense of entitlement. Rick Truswell doesn’t lack for ambition, however, and has grandiose plans, advertised regularly during the family’s Sunday program. Naturally funds are required. From their unprepossessing studio the family intersperses its home-spun homilies and rousing songs with calls for donations that will enable the completion of the theme park they have called Miracle City. “First you pray, then you play,” say the ads, but before that can happen someone has to pay. Rick Truswell needs money, he needs it badly, and, as it transpires, will do anything to get it.

In real time – just under 90 minutes – the veneer of good cheer and good works shatters. Idolised men are shown not only to have feet of clay but to be viciously corrupt and a woman married at 16 finds the strength to be her own person. (The echoes of A Doll’s House are pleasing as the woman is played by Blazey Best, who recently starred in an updated version of Ibsen’s play for Belvoir.)

With their exercise of iron-clad patriarchial control, Rick Truswell (Mike McLeish) and his mentor Sizemore (Peter Kowitz) could be old-school Stalinists, except with way, way better music. Which is where Miracle City really nails it. Lambert and Enright’s songs are heaven, absolutely crucial to the show’s tightrope-walk between satire and seduction. There are up-tempo exhortations to raise the roof, share the load and to take up arms until the war is won, and there is a strong temptation to leap to one’s feet and join right in.

The country-and-gospel score hits bull’s-eyes again and again. Marika Aubrey, Hilary Cole, Esther Hannaford and Josie Lane are all in knockout vocal form as they deliver the effortless mix of shiny-eyed faith and glossy showbiz. Hannaford, who plays the troubled Bonnie-Mae, is magnificent in the show’s standout number I’ll Hold On, and Aubrey leads a storming Raise the Roof, but really everyone gets a strong vocal moment. Who knew Best (Lora-Lee Truswell) could sing like that? She’s a revelation, as is young Cameron Holmes as baby of the family Ricky-Bob. Keep him on your radar. Jason Kos as floor manager of the Truswells’ show rounds out this highly appealing cast.

The difficulty is in managing the shift from clean-living serenity to ugly reality in such a short time. Director Darren Yap has allowed McLeish and Kowitz, both charismatic, to become too obviously villainous and therefore less chilling than they might be. But to be fair, the piece probably needed a few more drafts to enrich overly emblematic characters. Rick Truswell has the usual reclamation story (he was a no-account wrong-doer until he met Lora-Lee when she was just a girl), Aubrey is the tough, astringent gal who can look after herself, Hannaford the woman with a painful past and Lane the adoring disciple who sees nothing. Cole has a little more to play with as Loretta, the teenager with a combustible mix of rebellion and naivety, and Best has the most complex path to tread as she touchingly shows the illusions of 20 years being stripped away in moments.

Best is an intensely sympathetic actor who negotiates the swift transition from subservience to vulnerability to defiance with appealing dignity, willing us to believe in a situation that doesn’t entirely ring true.

The dramaturgy isn’t perfect, but this is nevertheless an absorbing evening created by a lavishly talented group of people. Apart from designer Hankin, the composer leads a terrific five-piece band, Kelley Abbey choreographed, Roger Kirk did the costumes and Hugh Hamilton the lights. These are people normally seen on far bigger projects. But then this is Miracle City. Back at last.

Miracle City ends November 16

A version of this review appeared in The Australian on October 2

A Murder is Announced

Sydney Theatre, October 9

THERE was a time when I thought Agatha Christie the last word in reading entertainment. I devoured her books hungrily, and decided that The Murder of Roger Ackroyd was about the cleverest thing written. I still think it’s pretty nifty actually, and it was rather influential in the crime genre, a genre I adore to this day.

Christie’s writing perhaps hasn’t stood the test of time particularly well but she did give us two of the great detectives in the canon, Hercule Poirot – the sleuth in the matter of Roger Ackroyd – and the even more imperishable Jane Marple, spinster of St Mary Mead and incomparable amateur detective.

Miss Marple made her first appearance in a 1926 short story, the year of Roger Ackroyd as it happens, and appeared in a dozen novels, the last one (Sleeping Murder) published in 1976. Not a bad innings, and one that would be extended until the present day via film and television.  The most recent series of Miss Marple mysteries, those produced by ITV, have been notable for two splendid leading ladies – Geraldine McEwan and then Julia McKenzie – and for the almost comical number of well-known British actors happy to appear in them. Fiona Shaw, Richard E. Grant, Tom Baker, Julie Sawahla and Richard Briers are just the tip of the iceberg. For heaven’s sake, even the splendiferous Carey Mulligan, she lately of The Great Gatsby, has featured.

All of which is a really long way of saying that wherever Miss Marple goes, I will follow.

Judi Farr as Miss Marple in A Murder is Announced. Photo: James Morgan

Judi Farr as Miss Marple in A Murder is Announced. Photo: James Morgan

Naturally I didn’t come to the current Australian production of A Murder in Announced completely fresh. I saw the ITV version (McEwan as Miss Marple, Zoe Wanamaker as Leticia Blacklock, Elaine Page as Doris Bunner) some years ago and while I had initially forgotten who done it, the mists dissolved fairly quickly. But never mind. The pleasure of these things is noting how the bits and pieces interweave and interlock to lead to a satisfying and, one hopes for those who are still in the dark, a surprising conclusion.

The Sydney Theatre, while comfortable, isn’t entirely the most atmospheric place for an unrepentantly old-fashioned piece such as A Murder is Announced. Melbourne’s Comedy should be somewhat more suitable. Still, I was enchanted with Linda Bewick’s set (Bewick is also one of the producers). One enters the auditorium to see a rather good facsimile of an English drawing room, complete with chandeliers, sconces, standard lamps, chintzy coverings for the sofa and chairs, a tray set for tea.

Dead centre – and dead is indeed le mot juste – there are two doors close together. These will be crucial.

The play opens, as did The Mousetrap – the producers of which are responsible for this commercial tour – with news delivered over the radio, something about a billionaire and an inheritance at stake. There is plinkety plunkety music (the estimable Max Lambert composer), the lights go down, and we’re off. A notice has been placed in the local Chipping Cleghorn paper to say a murder will take place that very evening in that very house. In those days people believed what they read in the papers, or at least the rather excitable Doris Bunner (Deidre Rubenstein) does. And you know what? She’s absolutely spot on.

Quite a few people happen to be staying in the house – the play has a cast of 11, which is good and rare news for actors – and it becomes clear that not everyone may be as advertised. There are meaningful exchanges, speaking glances and other necessary mystery trappings, mostly handled smoothly by director Darren Yap, although I felt Rubenstein chewed the scenery perhaps a little too frantically.

There are also, in Leslie Darbon’s script, some incredibly complicated pieces of exposition. One does have to be most attentive to keep up, and even the actors seem to find the going tough. I saw A Murder is Announced a couple of weeks in and there were still glitches. Debra Lawrence, as Leticia Blacklock, got herself in a right old pickle during a very long speech that is rather vital to one’s understanding of just who fits in where in the old inheritance imbroglio so that one was not a great deal the wiser at the end of it. Just grateful to move on really. Perhaps a more recent adaptation than this 1977 one would have had a lighter, more flexible touch and a more tripping use of language while retaining the enjoyable period feel.

I did have fun though, and very much appreciated Victoria Haralabidou’s calculatedly hysterical maid Mitzi. Above all, one is in exceptionally safe hands with Judi Farr’s sensibly shod, cardie-wearing Miss Marple. All the intelligence and quiet wit one could wish for are present and correct, and the twinkly relish with which Farr delivers her blackout line for Act I, Sc ii is perfection itself.

Sydney Theatre, until October 27. Comedy Theatre, Melbourne, from October 30. Playhouse, QPAC, Brisbane, from December 27. Canberra Theatre Centre from February 22.

Bombshells

Ensemble Theatre, Sydney, March 20

“I’M so fucking happy,” screams Theresa McTerry, bride-to-be, slamming down the bubbles. It won’t be the first time she says that. Protesting a little too much, perhaps? Theresa’s monologue is the fourth of six that make up Bombshells, Joanna Murray Smith’s cunningly named piece about women in a state of discovery. There are bombs thrown everywhere: little ones perhaps, given the suburban setting for five of the six pieces, but bombs capable of inflicting much damage nevertheless on those involved.

Sharon Millerchip as Theresa in Bombshells. Photograph: Steve Lunam

Sharon Millerchip as Theresa in Bombshells. Photograph: Steve Lunam

It goes without saying Bombshells needs an actress of many and varied gifts to carry it off. It was written for Caroline O’Connor and thus asks for a triple threat performer. In Sharon Millerchip it certainly has that, and the Ensemble has a gold-plated hit on its hands.

Murray Smith has astutely allowed some latitude in shaping Bombshells for 2013 (it was first performed in 2004) and for Millerchip. There are some up-to-date cultural references – predictably Theresa has a bit of a Kim Kardashian thing – and a wildly successful interpretation of the final section, in which nightclub singer Zoe has become a German cabaret artist.

Bombshells gets off to a reckless, breathless start with Meryl, a harried new mother with older children to wrangle, a home to run and a very keen sense of how she is failing to cope with anything approaching serenity or even competence. Millerchip makes Meryl extremely endearing, pouring out the torrent of words with a dogged awareness that it’s impossible for her to achieve what others seem – laughably – to think possible.

The least successful section comes second as Tiggy gives a lecture on cacti that turns into a cry of anguish. It’s simultaneously obvious and awkward. Millerchip is on happy territory with the third monologue, in which schoolgirl Mary O’Donnell attempts to run off yet again with top prize at her school’s talent show. Without her, you understand, it would not be a talent show; it would just be a show. Precious.

The fifth monologue is the only one for which Millerchip is demonstrably too young, but she has the right delicacy and astringency of touch for the story of a widow, ever busy doing things with other widows, who unexpectedly has a chance to be desired again.

Theresa’s wedding is the most complex of the pieces. As it starts, and as it is played by Millerchip, the audience laughs at the character rather than with her, no doubt about it. I found that very uncomfortable, which is not a bad thing in the theatre. Theresa has been captured by the whole romance of the thing: a big wedding, having snaffled a bloke, having done what everyone expects of someone like her. But she’s got plenty of go in her and she isn’t stupid. Millerchip finds the underlying bleakness without hammering the point.

Sharon Millerchip as Zoe in Bombshells. Photograph: Steve Lunam

Sharon Millerchip as Zoe in Bombshells. Photograph: Steve Lunam

Bombshells ends with diva on the slide Zoe who rallies to put on a performance, albeit a shaky one, and insinuate herself with the audience. Millerchip creates a Marlene Dietrich-style chanteuse of slinky manner, smoky vocals, suggestive banter and only a passing acquaintance with sobriety, a situation which accompanist Lindsay Partridge handles with urbane charm. (Partridge also composed some additional music; Max Lambert was the original composer.)

On Wednesday night the audience immediately jumped to its feet for Millerchip. Quite right too.

Bombshells continues at the Ensemble, Sydney, until April 13.