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Tag Archives: Christine Forbes

Avenue Q

I think it was family loyalty that took me along to Avenue Q. That, and some pretty high recommendations on Facebook and She Who Must Be Obeyed telling me to go see it while I still had the chance. Honestly, the idea of yet another bit of children’s pop culture being appropriated for the adult market just wasn’t appealing.

But in true Canberra musical theatre style, our ‘amateurs’ have redeemed a rather dry book and presented something truly spectacular. Technically, it was almost faultless. Apart from a few occasions when I couldn’t hear the words over the band, I was blown away by how great these guys sounded. And it was a tiny band too; all I could see were two keys, two strings and a hitter who had plenty of space to rattle about in the pit.

The kudos, though, goes to a great cast, most of whom had to learn to control two bodies rather than the usual one. And it was fun just to observe as an audient that at first I had to keep reminding myself to look at the puppet rather than the actor! In time they blended, which just made the whole puppet/puppeteer thing work so well. At least in individual scenes it did.

As a whole show, though, Avenue Q just doesn’t hold together very well. Whose story is this? What is it about? And why couldn’t they just pick a story and stick with it? There are some interesting characters here that really deserve better treatment! But that’s musical writers for you; most couldn’t see a story if it played itself out on a stage in front of them!

I think, really, Avenue Q is a musical trying to be cutting edge and funny at the same time. It only succeeds in the latter, and occasionally fails at that because it’s trying to be cutting edge. Does that make sense? Probably not, but I know what I mean. And whatever it’s failings, Supa‘s cast and crew have outdone themselves. I had a ball.

 
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Posted by on Wednesday, 28 September 2011 in ANU Arts Centre, Canberra Theatre, Supa Productions, Theatre

 

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Blood Brothers

There is an awful lot of speculation out there about the bonds between twins. Whether it’s about finishing each others’ sentences or remotely sensing trouble in each other’s lives, twins arouse a lot of speculation about whether certain behaviours are innate or acquired. Such speculations, I suspect, were part of the inspiration for Blood Brothers, now playing at The Q in Queanbeyan…

The rest of this post is published on Australian Stage.

 

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Jazz Garters

Well, I’ve finally done it. More than twelve years after moving to Canberra, I have finally been to one of Rep’s winter variety shows. I recall that it was originally recommended to me in 1998 as an undergraduate beginning a Theatre Studies major at the ANU, as an excellent example of the music hall tradition, so there’s something bittersweet in having finally attended in the same week that the ANU’s Theatre Studies major met its demise.

The cast certainly delivers. After a slightly flat first half, which could be put down to opening night, the second was quite magical. Ian Croker’s rendition of Minnie the Moocher got the audience engaged, and Christine Forbes followed this with a beautifully theatrical The Girl from 14G, about which she bragged that she was overjoyed to be able to wear her pyjamas on stage!

I felt my personal cringe factor rise when we were informed that the finale was to be a rendition of Peter Allen‘s perfectly horrid canticle I Still Call Australia Home, but it dissipated completely with the cast’s magnificent send-up of the song’s overwrought history.

A variety show stands or falls on the energy of its cast, and this cast certainly works hard for their applause. After a flat start, the energy flowed and made Jazz Garters a fun and entertaining show, well worth a night out.

 
 

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Chess

I really must come up with a good reason why I don’t like follow spots and smoke. Normally my dislike of them doesn’t matter, but in the case of Chess, they use them right at the beginning, and they use them well! Why is this a problem? Well, if you don’t like follow spots and you don’t like smoke, but the first thing in the show is a follow spot and smoke, it distracts you from the show. It’s not a problem with a poor show, but unfortunately, The Q’s production of Chess is not a poor show, so I feel I need to justify my dislike of follow spots and smoke. One day, my prejudice will have a justification, but this is not that day. Chessis just too good.

Chess is, in many ways, poles apart from Krapp’s Last Tape, which I gushed about the night before, but it shares two important characteristics: it tells a remarkably human story, and allows an audience to engage in some depth with its central characters. That said, I think I missed some elements of that story, due to some distortion of Tim Rice’s lyrics. I am unsure whether this was a problem with enunciation or amplification, but I suspect the latter. Of course, putting such complicated sentence structures into lyrics was probably a bad idea in the first place, but in this instance it was not a fatal one, probably due to the talents of this magnificent cast.
The ensemble gathered for this production must be one of the best I have seen in Canberra, but they were not a patch on the magnificent talents of principals Stephen Pike, Christine Forbes and Lexi Sekuless. Even an old cynic like me felt goosebumps!
 
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Posted by on Thursday, 30 July 2009 in Canberra Theatre, Musical Theatre, The Q, Theatre

 

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All Shook Up

All Shook Up is a take on Shakespeare’s Twelfth Night, in case you didn’t know. I knew, and I think I missed half the show trying to figure out which characters corresponded to which Twelfth Night characters. Why did I do that?
As we have come to expect from Supa, All Shook Up is a great show that doesn’t ask a lot of its audience. We joined the blue rinse set for today’s matinee. It’s not normally a good idea to go to a matinee, the audiences are usually a bit flat, and the performers suffer for it. This was probably true today, and yet what struck me was the technical precision displayed by the cast. Under the musical direction of Garrick Smith, the principal cast gave stunning performances of many of Elvis Presley’s most popular songs, supported by an equally impressive ensemble.
It was a great show, although not a patch on Supa’s recent productions of Buddy. It could have something to do with the music, but I think maybe I’m just a little too young to appreciate it the way the rest of the audience, who were mostly twice my age, did. It’s a good show, but for my tastes it needed a little less sugar.
 
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Posted by on Saturday, 23 May 2009 in ANU Arts Centre, Canberra Theatre, Theatre

 

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