About last week … April 2-8

In the week just gone I went again to The Australian Ballet’s Swan Lake, this time to see Lana Jones as O/O. I’ll wait until I’ve seen Natasha Kusch – coming up at the Saturday matinee – before I embark on a full discussion of Stephen Baynes’s production and the key exponents. In the meantime I’d like to start a petition to free Rudy Hawkes. The AB senior artist has been fronting up night after night as either Prince Siegfried’s mate Benno or the wicked Baron von Rothbart. In fact, he is listed as dancing one or other of these roles at 18 of the 21 performances (they end on April 20 in Sydney). I do think that’s cruel and unusual punishment for such a senior dancer.

But thanks to the AB for putting up on its website and leaving up casting for the key roles for the whole season. It’s helpful. Queensland Ballet doesn’t do it, nor does West Australian Ballet.

Speaking of websites, the AB has given its site a big, big makeover. It was needed, although I feel it’s going to take some time to work out how to navigate its many tendrils. Some first thoughts: I’m not sure it’s terribly accurate to label the senior artists “rising stars”: several have been at that rank for quite a while and may stay there; in addition they dance principal roles regularly. And the soloists are rather unnecessarily dubbed “singular talents” and the coryphées “dancers to watch”. I do, however, direct you to the section Music at the Ballet. Therein (keep scrolling) you will find notes on “Iconic scores of The Australian Ballet”, written by yours truly.

And some more idle website thoughts. Having just been to Brisbane to see Queensland Ballet’s A Midsummer Night’s Dream, the cast for which is studded with artistic director Li Cunxin’s recent Cuban hires, I thought I’d take a look at Ballet Nacional de Cuba’s website to see just who was left in Alicia Alonso’s company, so frequently denuded of talent as successive waves of dancers seek better conditions elsewhere. Ages ago BNC was still listing Yanela Piñera as a premier dancer (equivalent to a principal here) and Camilo Ramos as a principal (equivalent to a senior artist). And they are even still listed as being in Havana despite joining QB last year. Victor Estévez is also listed as a BNC premier dancer. The 22-year-old joined QB this year as a principal.

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Phillip Lowe, Mike McLeish, Pippa Grandison, Glaston Toft as The Seekers. Photo: Jeff Busby

The Seekers bio-musical Georgy Girl arrived in Sydney last week with a thud. It features pretty much all The Seekers’ folk-pop hits, gorgeously sung by Pippa Grandison (playing Judith Durham) and Phillip Lowe, Mike McLeish and Glaston Toft as, respectively, Keith Potger, Bruce Woodley and Athol Guy. The problem, as so many have said, is with the book by Patrick Edgeworth, Durham’s brother-in-law. It doesn’t so much craft a story as endlessly drop facts – plop, plop, plop – each with the same weight as the one before or after. Let’s put it this way, a book that spends as much time on Durham’s attack of appendicitis as on The Seekers’ extraordinary Sidney Myer Music Bowl homecoming concert in Melbourne in 1967 (crowd: 200,000) is not an effective one. The dialogue is laboured, the jokes cheesy, the choreography clichéd … why go on? Those songs, though. They are smashing and Grandison is special.

On Thursday night it was off to Belvoir to see Kit Brookman’s new play The Great Fire. The state-of-the-world family drama with lots of revelations and fingerpointing doesn’t break any new ground unfortunately. There are, however, several pluses. It’s directed by the ever-excellent Eamon Flack and has a tiny role for Peter Carroll to which he brings devastating truth.

On Friday Squabbalogic Independent Music Theatre opened The Original Grease on Friday in the bijou Reginald Theatre in the Seymour Centre, where Squabbalogic is a resident company. Squabbalogic’s artistic director Jay James-Moody is a talented director and can do a lot with very little but in this instance he was over-stretched (and puzzlingly introduced a brief flash of nudity into proceedings, which seemed a sign of panic). It probably seemed an excellent idea to have performers close to the age of the characters but it was always going to be a big call to find 17 suitable triple-threat performers (for that is the size of The Original Grease cast) in the one place at the one time. Those onstage were mostly not long out of training and it showed, although it was worth giving it a go.

Grease Company -- (pic Michael Francis

The cast of Squabbalogic’s The Original Grease. Photo: Michael Francis

As I wrote in my review in The Australian on Monday, “The Original Grease is a piece of music-theatre archaeology that gives an insight into how something little became something big, sacrificed a lot of its rough-and-tumble energy and made a fortune.” And yes, you can see why the show would have been so embraced by Chicago in 1971 when it was made and in 2010 when the reconstruction appeared. I liked its scrappiness and sense of community, even though it’s messy and over-long. But with the best will in the world one couldn’t call this production evenly cast. I do, however, look forward to seeing Coral Mercer-Jones in something else. She was a knockout Rizzo.

Georgy Girl, State Theatre, Sydney, until May 27. Perth from July 8.

The Original Grease, Seymour Centre, Sydney, until May 7.

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