Theatre artists of the year (and my inaugural Artist of the Year)

One person’s best is another person’s “I can’t believe we saw the same show”. Which if course we never do or can. We each bring to the theatre our history, our personality, our experiences, our experience, our tastes and our bête noirs.

So why these lists at year’s end? Well, they serve as reminders of ephemeral arts, they pay tribute to artists and they bring together things we saw through the year as individual events. Their power accumulates when seen collectively. They are proof of the richness of our cultural life.

Unlike my 2015 year in dance, which I posted on Tuesday, most of the theatre I saw this year – including musical theatre of all kinds – was in Sydney. There were also a couple of forays to New York, where much enjoyment was had.

Therefore, like my dance list, the following things are simply those productions and people I was really, really glad I saw.

By the way, for the first time ever I have decided to nominate an Artist of the Year. Scroll down to the bottom if you’d like to know right now.

2015 AT HOME

This year in Sydney the independent sector kept bobbing up with little gems. How producers and performers keep doing it with such limited resources is one of the great mysteries of life. Bless them one and all for their commitment. I hesitate to say poverty appears to be good for them but they are super-resourceful and awe-inspiringly creative. It was an honour to have seen Sport for Jove’s Of Mice and Men, Siren Theatre Co’s Misterman, Outhouse Theatre Company and Red Line Productions’ The Aliens, Oriel Group with Red Line Productions’ I Am My Own Wife, and Apocalyse Theatre Company’s The Dapto Chaser, seen at Griffin.

It was, you may have noticed, a pretty blokey time in the indie world (although Kate Gaul directed the wonderful Misterman). This became a subject of much discussion in 2015 and there are serious, sensible, inclusive plans to increase diversity right across the board in the live performance and screen arts.

Thomas Campbell - MISTERMAN 1

Thomas Campbell in Misterman, directed by Kate Gaul

That said, I was incredibly heartened to see standout contributions from some the small number of women writers and directors in this year’s theatre. Kate Gaul, as mentioned; Mary Rachel Brown, who wrote one of my year’s great favourites, The Dapto Chaser; Imara Savage at the helm of Sydney Theatre Company’s gloriously funny-sad After Dinner, by Andrew Bovell; playwright Lally Katz’s The Cat, half of the silly and sweet Belvoir Downstairs double bill The Dog/The Cat (Brendan Cowell wrote The Dog); and the miraculous American playwright Annie Baker (The Aliens).

I saw more than 200 shows this year in dance, theatre, musical theatre, opera, cabaret and circus and as I pondered the non-dance list it became clear that for me, it was the Year of the Woman as far as performance was concerned. Yes, I loved Ewen Leslie in Belvoir’s all-round engrossing Ivanov; Josh McConville in After Dinner – god that man is good; American tenor and rapidly rising superstar Michael Fabiano in Faust for Opera Australia; Simon Gleeson in Les Misérables; James Millar as Miss Trunchbull in Matilda; and, without exception, all the men in the indie shows I listed above (they had very, very strong casts).

Ivanov3

Zahra Newman and Ewen Leslie in Ivanov. Photo: Brett Boardman

Nevertheless, my memories glow just that bit more brightly when I think about the following …

I had just the best time at Matilda. Four times, in fact, as I went to see each of the girls in the title role. My admiration for Molly Barwick, Sasha Rose, Georgia Taplin and Bella Thomas knows no bounds. Each carries the show on very young shoulders. I had tears in my eyes at the end each time of this life-affirming show and may well pop down to Melbourne to do it all over again. Matilda starts there in March at the lovely Princess, which will suit it very well indeed. And there will be four new Matildas. A duty to go, really.

Also in Matilda, the heart-rendingly beautiful Elise McCann as Miss Honey.

And what about Amy Lehpamer? She’s unimprovable in The Sound of Music as she was earlier in the year for a much smaller audience as Tracy Lord in High Society at the Hayes in Sydney. Speaking of High Society, I was bowled over by Virginia Gay as Liz. She gave one of the most accomplished, nuanced and touching performances of the year and gave a master class in how to sing Cole Porter. Also at the Hayes, actor Mitchell Butel’s impressive debut directorial outing – the musical Violet – was crowned by Samantha Dodemaide’s blazingly passionate performance in the title role.

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

Amy Lehpamer as Maria in The Sound of Music. Photo: James Morgan

It’s not an easy business getting a new musical off the ground but Queensland Theatre Company did it with Ladies in Black, with music and lyrics by Tim Finn and a book by Carolyn Burns. Based on Madeleine St John’s novel The Women in Black, it is packed with deliciously memorable songs and is unstoppably optimistic as it follows the dreams and aspirations of a young woman coming of age at the turn of the 1960s. It’s set in a women’s department store among the frocks, and thus is dominated by a big (and top-notch) female cast, headed as we speak for a season at Melbourne Theatre Company from January 16. Sarah Morrison plays young heroine Lisa Miles with a lovely mixture of determination and vulnerability.

Sarah Morrison, Christen O'Leary

Sarah Morrison as Lisa and Christen O’Leary as Magda in Ladies in Black

I pity anyone who missed Japanese soprano Hiromi Omura’s return visit to Opera Australia with Madama Butterfly (Sydney and Melbourne, after last year’s mind-blowing performance in Opera on Sydney Harbour’s Butterfly and an earlier visit to Sydney). Australian soprano Nicole Car is getting a fantastic – richly deserved – reception at the Royal Opera House, Covent Garden for her Tatiana in Eugene Onegin; luckily we saw her in Onegin and Faust this year and she will appear in OA’s Luisa Miller in Sydney very soon. It’s likely overseas houses will start snapping her up regularly. In the contemporary opera sphere, Jane Sheldon was unforgettable in Sydney Chamber Opera’s searing An Index of Metals.

NOTES FROM ABROAD:

I saw Annie Baker’s The Flick in New York with the original cast (Melbourne was fortunate enough to see a production directed in 2014 by Nadia Tass for Red Stitch and revived this year). It is the play – indeed the production among all art forms – I keep coming back to. The three-hander is set in a down-at-heel cinema where hope flickers as forlornly as the out-of-date film equipment the unseen owner insists on keeping. For close to three hours two men and a woman engage in desultory conversation while sweeping up popcorn, changing reels and jockeying for position. Brilliant.

I also had a fun experience with Theatre for One, which is exactly what it says. You pop into a booth and an actor performs a short play just for you. Sitting practically knee-to-knee, you have nowhere to look but into each other’s eyes. Interesting. I saw two works and wish I’d been able to stay to complete the set of six.

On the musicals front Christopher Wheeldon’s direction and choreography of An American in Paris were blissful and what a treat to be able to see the pint-sized powerhouse Kristin Chenoweth in Cy Coleman, Betty Comden and Adolph Green’s rarely seen On the Twentieth Century.

A detour into celebrity casting:

Call me shallow but I love it. Bill Nighy and Carey Mulligan in Skylight; Helen Mirren in The Audience; Darren Criss in Hedwig and the Angry Inch; New York City Ballet star Robert Fairchild in An American in Paris. Criss, best known for the TV series Glee, was the surprise package: a knockout.

ARTIST OF THE YEAR:

Jacqueline Dark as Amneris in Opera Australia's Handa Opera on Sydney Harbour - Aida. Photo Hamilton Lund

Jacqueline Dark in the eye of the storm as Amneris in Handa Opera on Sydney Harbour’s Aida. Photo: Hamilton Lund

Okay folks, I’m calling it. My Artist of the Year is Jacqueline Dark, thrilling and versatile mezzo frequently seen with Opera Australia; kick-arse cabaret artist who can write her own material, as we saw in Strange Bedfellows, her cheerfully outrageous show with partner in crime Kanen Breen; and now music-theatre sensation with her Mother Abbess in The Sound of Music. Obviously she can get to the summit and back with ease in Climb Ev’ry Mountain, but she gets the acting part of it so right too. That said, Dark could have won this title just on the basis of her courageous performances as Amneris in Opera on Sydney Harbour’s Aida early this year. Apart from the challenge of having to sing from on high – you can just see Dark in Nefertiti’s eye – the weather was appalling, costumes became waterlogged and thus as heavy as a hod of bricks, and yet the show had to go on. Dark sounded fabulous, of course. She is a trouper of the highest order.

Jacqui Dark, Kanen Breen. Pic- Kurt Sneddon

Strange Bedfellows Jacqui Dark and Kanen Breen. Photo: Kurt Sneddon

 

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

2013: a retrospective

Here’s my take on the year’s high points. As many have noted before me, “best” is a useless word when applied to the cornucopia available in the arts. Here are the people and productions that most inspired me.

Showgirls usher the gods to Valhalla in Opera Australia's Das Rheingold. Photo: Jeff Busby

Showgirls usher the gods to Valhalla in Opera Australia’s Das Rheingold. Photo: Jeff Busby

“A SHORT show is a good show,” we all carol (me and my fellow critics) as we enter the auditorium for yet another 70- to 90-minute piece of theatre, but put a 10-hour marathon before us and we can’t get enough. So I have lists for big things, small things, individuals, a few words on musical theatre and a couple of miscellaneous thoughts.

It was a strong year, particularly in Sydney theatre, so it was hard to keep the lists tight. Please don’t take anything I say here as an indication of who has taken out honours in the Sydney Theatre Awards, of which I am but one judge on a panel of nine. Argument was fierce and the passions diverse, let me tell you! But here goes from me, in alphabetical order …

Big:

Angels in America, Parts One and Two, Belvoir, Sydney: I’ve said it before and I’ll say it again. This is the best play to have been written in English in my lifetime. Belvoir’s production was very fine.

Cinderella, The Australian Ballet, choreography by Alexei Ratmansky. The amazing Surrealist-inspired set looked waaaay better in Melbourne than in Sydney, but this version of the beloved fairytale to the bittersweet music of Prokofiev as choreographed by the world’s leading classicist is a keeper. (Also wonderful to see Ratmansky’s The Bright Stream with the Bolshoi in Brisbane mid-year – amazing how that company managed to block out the hideous backstage dramas that still dog it.)

Life and Times, Nature Theater of Oklahoma, Melbourne Festival: The ums, ahs and pauses of an ordinary life rendered first as a dippy musical, then as a drawing-room mystery. You had to be there (for 10 hours indeed). Sublime, transcendent.

Royal Concertgebouw Orchestra of Amsterdam: Scintillating Stravinsky Firebird suite and glorious Tchaikovsky fifth symphony. Magic.

The Ring, Opera Australia, Melbourne: not a flawless production, but one that felt right for this place and this time. Director Neil Armfield’s strength is finding the humanity in situations where it may seem to be missing in action and he did it here. Under last-minute mini-maestro Pietari Inkinen (only 33!!) the Melbourne Ring Orchestra put in a blinder. Bravi.

The Threepenny Opera, Berliner Ensemble, Perth International Arts Festival: Not a huge company, but a Robert Wilson production simply cannot be put into any category other than outsized. Stupendously performed, gorgeous to the eye, a knockout band in the pit, witty, sardonic … you get the idea.

Small:

The Floating World, Griffin, Sydney: A devastating production (Sam Strong directed) of John Romeril’s devastating play. I saw the last scene with tears pouring down my face. A rare occurrence.

Giasone, Pinchgut Opera: Apparently the most popular opera of 1649. Worked pretty damn well in 2013.

Independent theatre x 3: I have to mention this trio of splendid plays and productions thereof. I was thrilled to have been able to see Jez Butterworth’s brilliant Jerusalem in Sydney, and done so persuasively by the New Theatre. Workhorse Theatre Company’s The Motherf**ker with the Hat was hold-on-to-your-hats exhilarating, and is getting a re-run in 2014 at the new Eternity Playhouse. Hooray. And in Siren Theatre Company’s Penelope (by Enda Walsh), all sorts of trouble arises when Odysseus’s arrival back home is imminent. As with Workhorse, Siren did a superb job in the tiny confines of the theatre at TAP Gallery.

Owen Wingrave, Sydney Chamber Opera: This young, tiny outfit did Benjamin Britten proud in his centenary year. Really memorable music-making.

Sydney Chamber Opera's Owen Wingrave

Sydney Chamber Opera’s Owen Wingrave

The Rite of Spring, Fabulous Beast Dance Theatre, Brisbane and Melbourne festivals: In the Rite of Spring centenary year, Michael Keegan-Dolan’s setting in a harsh, cold village was, not surprisingly, dark and threatening. His ending, however, stressed the renewal and healing that is to come. The score was played in Stravinsky’s four-hand version (on one piano); earlier in the year, in Sacre – The Rite of Spring (Raimund Hoghe for the Sydney Festival), we heard the score also played ravishingly by four hands, but on two pianos. Sacre was a difficult dance work for many; I admired it greatly.

School Dance, Windmill Theatre (seen at Sydney Theatre Company in association with the Sydney Festival): loved, loved, loved.

Jonathon Oxlade, Luke Smiles and Matthew Whittet in School Dance. Photo: Lisa Tomasetti

Jonathon Oxlade, Luke Smiles and Matthew Whittet in School Dance. Photo: Lisa Tomasetti

Super Discount, Back to Back Theatre: Deeply provocative on all sorts of levels. Can’t wait for Ganesh versus the Third Reich to come to Sydney – finally – next year.

Waiting for Godot, Sydney Theatre Company: Luke Mullins, Philip Quast, Richard Roxburgh and Hugo Weaving were an immaculate quartet of players in one of the year’s most heart-piercing productions.

Individuals (performers):

David Hallberg (American Ballet Theatre and Bolshoi Ballet principal): Luminous in Alexei Ratmansky’s Cinderella for The Australian Ballet in Sydney. Prince of princes.

Peter Kowitz: Les in The Floating World (see above).

Ewen Leslie: A huge year on the Sydney stage as a desolate Brick in Belvoir’s contentious Australian-accented Cat on a Hot Tin Roof, The Player in Sydney Theatre Company’s terrific Rosencrantz and Guildenstern are Dead, and most powerfully – and impressively – as Hamlet for Belvoir, stepping in at short notice when original Dane Toby Schmitz was called overseas for filming duty. A rare change to compare and contrast in one of the roles by which men are judged. Closely.

Catherine McClements, Phedre, Bell Shakespeare: A scarifying performance in a production that was, in my opinion, sorely underrated. Not by me though.

Catherine McClements and Edmund Lembke-Hogan in Phedre. Photo: Rush

Catherine McClements and Edmund Lembke-Hogan in Phedre. Photo: Rush

Amber McMahon: Harper in Angels in America for Belvoir, various roles in School Dance for Windmill, special in everything.

Sharon Millerchip, Bombshells, Ensemble Theatre: Dazzling in Joanna Murray-Smith’s ode to the many faces of womanhood.

Tim Minchin: Lucky old us to see him not once but twice on stage, as a show-stealing Judas in the arena Jesus Christ Superstar and Rosencrantz in Rosencrantz and Guildenstern and Dead. Or is that Guildenstern? Don’t ask Claudius or Gertrude to help you out.

Luke Mullins: Prior Walter in Angels in America, the quiet centre of Kit Brookman’s Small and Tired, Lucky in Waiting for Godot. Fantastic in all of them. What a year!

Bojana Novakovic, The Blind Date Project, Sydney Festival: I adored this little improvised show. Wish I could have seen Novakovic with many more of her blind dates.

Myriam Ould-Braham, Paris Opera Ballet: Made her debut as Giselle in Sydney in February, making us here the envy of many a Paris balletomane. She was divine, as was fellow etoile Dorothee Gilbert. Both were partnered by the supremely elegant Mathieu Ganio. A joy to see the company here again.

Steve Rodgers: Rodgers has long been one of my favourite actors – so simpatico, even when taking on a difficult subject matter in Griffin’s Dreams in White. And especially in Gideon Obarzanek’s Dance Better at Parties for STC.

Individuals (behind the scenes):

Rafael Bonachela, artistic director, Sydney Dance Company: He’s here, he’s there, he’s everywhere. Bonachela sees everything and is bringing lots of strong artistic collaborations back for his astoundingly beautiful dancers.

Li Cunxin, artistic director, Queensland Ballet: He’s taken the company back to the classics and people have voted with their wallets. All shows have been sold out and all shows have been extended. I think Brisbane likes him.

Lyndon Terracini, Opera Australia: Got the Ring up. Respect.

Musical theatre:

It was an exceptionally patchy year for musical theatre in Sydney, although Dirty Rotten Scoundrels was really, really entertaining and super-well cast, and the arena version of Jesus Christ Superstar was a blast. The new consortium of music-theatre people, Independent Music Theatre, holds out promise for better things next year, and the feisty little Squabbalogic Independent Music Theatre continues to impress.

Miscellaneous:

Best new (only new) theatre in Sydney in 2013: Best is a word that certainly applies here. All hail Sydney City Council for getting the Eternity Playhouse happening. It is a truly beautiful 200-seat house, and an adornment to the city.

Best seat in the house: A11 at Belvoir. The lucky incumbent – male or female, it didn’t matter- got a kiss from Toby Schmitz or Ewen Leslie during Hamlet. Alas I was not one of them.

Clearest indication that critics don’t matter much: Dirty Rotten Scoundrels, which got the kind of reviews cast members’ mothers would write, did poor business in Sydney. Those of us who wrote about it adored it. We had very little effect.

Doesn’t stop us though.

Owen Wingrave, Sydney Chamber Opera

Carriageworks, Sydney, August 5

THE tyros at Sydney Chamber Opera nimbly and thrillingly tread where larger organisations fear to go, or at least traverse sparingly. Owen Wingrave is perfect SCO territory: it is 20th century repertoire, it’s an Australian stage premiere and it suits presentation by a small, tightly focused group of musicians. Another attraction, very much for audiences as well as SCO, is that Owen Wingrave is far from being over-familiar, yet in Benjamin Britten’s centenary year it has an undeniable claim on selection. Lots of ticks there.

Sydney Chamber Opera's Owen Wingrave

Sydney Chamber Opera’s Owen Wingrave

The company, founded in 2010, has an astute understanding of what is right for it and what it can do well. Its gripping Australian premiere last year of Philip Glass’s In the Penal Colony, in celebration of Glass’s 75th birthday, is another case in point, and it is no wonder SCO asked In the Penal Colony’s gifted young director, Imara Savage, to return for Owen Wingrave.

Written in 1971 as a commission for television (those were the days), Owen Wingrave was Britten’s penultimate opera and is an extended cry for peace. Owen, a young man from a family with a deep-rooted military tradition, “heir to the Wingrave flag of glory”, turns his face against war. His apostasy shocks his friends and relations. His willingness to fight and almost certainly to die is the only thing expected of him. He is not to think, to question or to have ideas. When he does, the icy rectitude of his hidebound, unimaginative family cracks.

It’s harrowing material that comes with a twist, a supernatural element present in the Henry James story on which the opera is based. Librettist Myfanwy Piper’s introduction of this spectral material is less elegant than one might wish, but Savage, designer Katren Wood and movement director Johanna Puglisi quietly make it part of the fabric from the start, which is a real achievement.

The setting is a cheerless space enclosed by a three-sided wire fence, giving intimations of prisons or encampments real and imagined. I was taken by the way that within this, Savage uses only a small number of big, uncluttered images. A huge stag laid out on the dining table silently attests to a tradition of killing and entitlement, a suddenly unfurled portrait becomes a constant reminder of the weight of heritage and a blood-stained boy mutely represents a family tragedy. I do wish directors would find a way other than opening black umbrellas to indicate a trip to the cemetery, but it’s a small point.

The simplicity of means lets Britten’s highly coloured score do its passionate work. The small orchestra plays David Matthews’s well-regarded reduction and features a bracing concentration of brass, woodwinds and percussion alongside the strings. There’s an enormous sense of urgency as the music groans, clashes and cries out, then subsides into quite lovely introspection or unsettling premonition. The mix of influences, particularly from eastern music, can make for unexpected, even unruly, passages but conductor Jack Symonds and the 15 players make an extremely persuasive case for music that’s rarely heard in any big opera houses.

Morgan Pearse in Owen Wingrave

Morgan Pearse in Owen Wingrave

Against these riches the vocal lines are solid and unadorned, mostly serving the text well. There are no reservations about the cast, all admirably suited to their roles. Morgan Pearse is a revelation in the title role, engaging sympathy with a glowing, firm, rich baritone and nuanced acting. Owen’s fiancée Kate is an unlikeable woman, yet Emily Edmonds finds a way to make her understandable and does so with a beautifully produced mezzo that is penetrating without losing its smooth texture. Tenor Pascal Herington also makes a strong impression as Owen’s friend Lechmere and as the ballad-singing Narrator who tells how the Wingrave family came to be haunted. I also very much liked Georgia Bassingthwaighte’s sensible, caring Mrs Coyle, but there was no weak link anywhere.

Owen Wingrave finishes on Saturday.

This review first appeared in The Australian on August 7.