Drew's News

Author: Kiran Gupta

  • REVIEW: Cinderella – a sparkling and magical all-round performance

    REVIEW: Cinderella – a sparkling and magical all-round performance

    Cinderella is a musical that evokes fond memories in both adults and children. For adults, it’s a beautiful reminder of their childhood and for children, it provides that spark of magic that gets them so excited. Indeed, while the children who attended Wednesday’s performance of Cinderella had an absolute ball, the adults loved this too. There really was something in it for everyone.

    The magic of this show really came from the production team and the cast. Cinderella is something that evokes positive memories for many, as a fairy tale, but as a show there is not a lot of substance to it meaning that it really relies on the cast to drive the show. Additionally, with Cinderella being straight out of the Rodgers and Hammerstein ‘Golden Age’ of theatre, director Mark Brokaw had a lot of work to do to ensure that the musical stayed modern and engaging for a 2022 audience. But the production team and the cast did an incredible job of keeping up with the times, with the modern voice of Ainsley Melham (Topher) being a particular highlight. I thought he was excellent in Pippin and again, he brought a youthful exuberance to this role which suited the story well. Silvie Paladino was also amazing as the show-stopping Marie, with her beautiful voice really shining through. 

    While Melham and Paladino were stand-outs, the whole cast shone in this musical. Josh Rhodes’ choreography was incredibly polished and well done, which gave a sense of structure to the show as a whole. But the thing that set this production apart and helped to keep it seeming fresh and modern was the staging and costume changes. Some of the children in our audience cheered in delight every time there was a fast costume change, and there were audible gasps around the rest of the crowd. Even after a number of costume changes, I was still amazed how the outside costume seemed to vanish while the character was still on stage. Not only were the costume changes incredible but the costumes themselves were lavish and ornate, wowing the audience at every stage. The set design was also gorgeous, delighting the children in the audience. 

    But while the whole cast was brilliant, special praise must go to Shubshri Kandiah who really stole the show. A bone-fide star, Kandiah commanded the stage from the first instant she walked upon it, lighting up the production with her spectacular voice, great character acting and an earnestness that is necessary for the character of Cinderella. Her presence was felt throughout the performance and her chemistry with Melham was excellent. I think it’s also important to raise the representational element of Kandiah’s performance as well. Kandiah is the first lead of South Asian background in a major Australian theatre production that I can remember and in an industry which has been marred by controversy around diversity in casting in recent years, this is certainly a step in the right direction. The strength of Kandiah’s performance will likely encourage more children of diverse backgrounds to get into musical theatre and just having that representation in any case is incredibly valuable. It is a credit to her that she has taken on the challenge of representing so many and done it so well. 


    Overall, this was a stunning musical from start to finish. Although the source material is perhaps not the most exciting, requiring the cast to do a bit more, in this case they rose to the challenge to put on a fabulous production that will please children and adults alike. 

  • REVIEW: Godspell – a magical rendition of a classic musical

    REVIEW: Godspell – a magical rendition of a classic musical

    Godspell is an interesting musical. Composed by Stephen Schwartz, one of the giants of modern musical theatre, the musical essentially tells the parables of the Bible back to back. Yet unlike other musicals with similar themes, such as Jesus Christ Superstar and Schwartz’s own Children of Eden, the musical does not have as coherent a plot, instead resembling something more akin to a song cycle, meaning that Schwartz’s catchy songs are given more prominence than usual. To effectively navigate this challenge, a stellar cast is necessary, which Richard Carroll and his team at the Hayes have very effectively delivered. 

    Carroll brought a number of cast members over from his recent foray at the Eternity Playhouse, the critically acclaimed Once. This was a great move given the strength of that cast. But combined with some new members, Carroll, who along with musical director Victoria Falconer has just been appointed a co-artistic director, still had to ensure that the cast gelled in the same way. Like in Once, the strength of this show really came from its ensemble with all the cast members blending together nicely to give a very unified performance. One thing that Carroll does particularly well in his musicals is giving voice to instruments on stage, with the characters often playing multiple instruments, which gives an intimate feel to the musical. Carroll is also a master of utilising small spaces which is necessary in the Hayes, which seats just over 100 patrons, as his cast are always moving and it seems as though there is always something new going on with the set. 

    One interesting feature of the Hayes is that there isn’t an easy exit for the performers side-stage so they need to go back through the audience. While this can pose a challenge for performers, the advantage is that performers can be situated all around the theatre which creates a wall of sound which builds atmosphere nicely. With all the performers having very strong vocals, this was undoubtedly a highlight of the show. 

    On the vocals, they were truly outstanding. There was not one weak link in the vocal ensemble, led by Victoria Falconer, meaning that every number was tight and polished. While Stefanie Caccamo had a smaller role than her incredible performance in Once, she still stood out with impeccable singing. I really do think she is one of the greatest musical theatre vocalists in Australia, considering her poise, tone and the finesse with which she approaches her singing. 

    Falconer was also a standout on the stage, often playing the piano from incredible positions while singing. Billie Palin also showcased a phenomenal voice in her role as Jesus Christ. But it was hard to pick any further standouts that the strength of the show came from the interaction of the ensemble, acting in pretty much perfect synergy throughout. And can I say the costumes were incredible throughout the whole show, paying homage to the 70s context of the show and also to the original scripture on which the musical is based on. 

    The performance of this musical was thoroughly impressive. However, the show does suffer from being a little dated. However, I thought that the cast and Carroll did a great job to modernise the show, throwing in pop culture references at various points throughout the show. While I’m not completely convinced in the enduring power of the source material, it certainly allows top vocalists to shine and that was definitely the case here. Ultimately, I think that the cast did a fantastic job of modernising the show for a 2022 audience and making it exciting for the audience at the Hayes who loved every moment of it. This was a fabulous production which allowed its leads and ensemble to soar and for that, I think it is well worth a visit. 

    Godspell plays at the Hayes Theatre until 6 November. Tickets are available here.

  • REVIEW: The Mousetrap – A masterful display of suspense, drama and craft

    REVIEW: The Mousetrap – A masterful display of suspense, drama and craft

    Is there a play more iconic than The Mousetrap? The beautiful Theatre Royal (which has had an incredibly good line-up of shows this year) played host to the opening night of the Australian iteration of Agatha Christie’s classic. The play, which takes place in the Great Hall of a Monkswell Manor in a post-WW2 Britain, actually bears a lot of similarities to the present day. As Australia emerges out of 2 years of pandemic lockdowns and stasis, Britain was in a somewhat similar state at the time of Christie’s writing (although with perhaps a more pessimistic outlook). Regardless, the melancholy of the setting perhaps gave the audiences something to identify with when seeing the iconic show. 

    The crowd for opening night was packed to the rafters with not a spare seat in the stalls. The curtain raised to rapturous applause to reveal the manor, beautiful decorated to complement the shape of the theatre. The challenge of performing in such a large venue, perhaps designed more for musical theatre than a conventional play, is that the actors had a lot of room and space to fill, both physically and in terms of their projection. The cast was up to the challenge making the audience feel as though the space was a lot more intimate than it actually was, which went a long way to ensuring the success of the play. 

    Led by Robyn Nevin and produced John Frost AM, the cast featured a who’s-who of established and upcoming theatre stars, including Geraldine Turner OAM, Gerry Connolly and Alex Rathgeber. Interestingly, a number of the cast had backgrounds in opera (which probably goes some way to explaining the fabulous projection) which led to a wonderful surprise at the end of the production (I won’t spoil it!) Laurence Boxhall shone as the eccentric Christopher Wren while Anna O’Byrne’s performance as Mollie Ralston was also a highlight, with her layered portrayal acting as the structure which held the show together. The chemistry between the cast was fabulous and while Boxhall and O’Byrne particularly stood out the entire ensemble was incredibly strong, with the quality of their respective talents shining through. The rapturous applause at every scene change was a testament to how much the audience appreciated the quality of the production they were seeing in front of them. 

    A lot of the credit must also go to Christie’s manuscript itself. It is really clear to see why the play has stood the test of time. It has all the elements of a classic whodunnit but with even more twists and a little bit of extra zest here and there. The audible gasps throughout the play were a credit to the actors on stage but also to the play. It is a fabulous work. 

    The lighting and soundtrack were also fabulous, very much adding to the ambiance of the play. There were some sound and microphone issues on occasion, especially when characters were speaking from off-stage but this was largely fine. The set was also ornate and added beautifully to the action on stage. Overall, this was a wonderful play which is definitely worth a view during its short season in Sydney. 

    The Mousetrap plays at the Theatre Royal until October 30. Tickets are available here. 

  • REVIEW: Six The Musical – A Masterful Showcase of Power, Drama, Voice and Ensemble

    REVIEW: Six The Musical – A Masterful Showcase of Power, Drama, Voice and Ensemble

    Six The Musical – Theatre Royal

    Divorced. Beheaded. Died. Divorced. Beheaded. Survived.

    As Jagged Little Pill closed, Six the Musical moved into the Theatre Royal for a limited month-long season. I first saw Six at the Opera House earlier this year and was very excited to see it again as the return season premiered in a brand-new venue. It’s sometimes (even often) the case that return season lacks something that made the original so great, especially when it is in a new venue. However, the Theatre Royal played the perfect host to the return of Six, as the show actually worked better on a tailor-made theatre stage and the acoustics supported the show extremely well. In fact, I would say that the beautiful Theatre Royal was one of the main reasons why the staging of this return season works so well.

    Now, onto the show itself. One by one, the six wives of King Henry VIII are introduced, each one turning to reveal themselves. When the queens first roar in unison, a cacophony of sound erupts around the stadium. The sound is partly audience gasps, partly applause and cheers but mostly the booming sound of the six voices reverberating around the Theatre Royal.

    Six is not your typical piece of musical theatre. It starts more like a concert, with the six queens introducing themselves. The wives of King Henry VIII, all competing to decide who had the most dismal life.

    Each queen takes turns at introducing their story, with power, passion and gusto, ably supported by an all-female four-piece band and stunning light show. In the end, the queens reclaim their story. They aren’t just the wives of Henry XII. Now, they are the stars of the show. They point out that instead of rewriting HIStory, they are making HERstory. 

    Stylistically, Six is very much in the vein of its contemporaries in new musical theatre. It’s not a completely sung-through musical like the megamusicals of the 70s and 80s and there’s not a whole lot of plot.

    Instead, the structural cohesion relies heavily on the blend between different styles of music and between song, dialogue and Sprechstimme-esque rap. With only six singers and a four-piece band on stage, there’s a lot of skill in making sure that this kind of structure does not fall apart.

    This is one of the most admirable things about the musical. For all the pizzazz of the extravagant costumes and the even more extravagant queens, it would be very easy for the substance of the musical to become lost.

    Here, the sterling performance of the six queens means that the show both looks good and sounds even better. Connection is never lost and the queens guide the audience safely through the plot, meaning the structure never unravels. The biggest hurdle in this show is passed with flying colours.

    While the queens are at their fabulous best when they are singing in tandem, they have some powerful moments on their own as well. Phoenix Jackson Mendoza is outstanding as Aragon, lighting up the stage with fire, passion and incredibly secure vocals. Loren Hunter’s solo mid-way through the show is a stunning contrast, bringing another side of the queens to the fore and leaving the audience holding their breath.

    The witty banter between Kala Gare and Chelsea Dawson provides excellent comic relief and Kiana Daniele’s performance as Cleves is both sultry and super powerful. While all the queens were incredible, Vidya Makan was particularly impressive. With one of the more difficult roles (playing the wife who actually survived), Makan approached the role with grace and gusto, connecting remarkably well with the audience. As her character developed throughout the show, she took the audience with her, making them feel just as much a part of the journey.

    The band are super tight, often moving in sync with the performers as if they are also members of the cast. With such a small ensemble, the energy of the band really helped to add a lot of ambiance to the show. The lighting was bedazzling, complementing the performers with all shades of the rainbow as the show progressed. The final lighting showcase was spectacular (you have to see it to understand).  

    Six is a celebration of female musicality and a very powerful one at that. Its message is simple yet strong and empowering. At only 75 minutes in length, it’s short, sharp and wildly entertaining.

    As the quintessential musical of the 21st century, both thematically and stylistically, this show has it all and deserves all the praise it has been getting. It’s clear why the cast album is the second most streamed theatre album globally (after Hamilton). It’s unashamedly brash yet it’s backed up with plenty of substance and life. The style of the show means that it feels a lot more accessible to the audience; they are not just watching a show but are part of the show. And the incredible actresses on stage do everything they can to facilitate that connection.

    Most importantly, the queens passed the final test: the crowd. The crowd loved every minute of the performance with plenty of audience interaction throughout. The queens were spontaneous, often reacting to little audience quips in the front rows and they really made the audience feel part of the show. The standing ovation received at the end was a testament to the quality of the performance.

    This isn’t just a show that everyone should see. The return season is bigger, better and more powerful than ever before – it’s a true must-watch on the Sydney theatre stage. With live theatre back and booming again, Six truly is the vociferous explosion of life, song and dance that we all need.

    Tickets are available for Six The Musical here. Six plays at the Theatre Royal until 1 October.

  • REVIEW: Jagged Little Pill: The Musical of the Year!

    REVIEW: Jagged Little Pill: The Musical of the Year!

    Kiran Gupta reviews Jagged Little Pill at Theatre Royal Sydney.

    It’s hard to imagine that a show would ever be so good that the crowd would send up to applaud in the middle of the second act. In fact, I have never seen a standing ovation at the theatre at any time other than the end of the show. It’s hard to imagine a show living up to that kind of reception. But it did. While it’s a huge call, I would go as far as saying this was the best musical I have ever seen. Yes, it was that good.

    The musical is based on the life and songs of Alanis Morrisette. But don’t think this is another jukebox musical like Queen or We Will Rock You. Unlike those musicals, where the songs sometimes feel sandwiched into the plot, the transitions here are seamless, as if the songs were actually written for the show. I’d never truly appreciated the brilliance and nuance of Morrisette’s lyrics prior to seeing the show, but the libretto really allows them to shine (except for one moment where ‘Ironic’ is set in an English classroom environment where, amusingly, the students question if there is actually irony in the lyrics.) The show feels current, with a focus on issues that are topical and relevant and yet the music still gives it a feel of timelessness. It’s truly the perfect combination.

    And then there’s the cast. Talk about a perfectly cast musical. Natalie Bassingthwaite takes the lead role as Mary-Jane, the matriarch of the family and does it so well. Even though in some areas her voice isn’t quite as strong as some of the other cast members, her authority when she acts and presence around the stage gives the show credibility and provides the structural glue that holds the show together. Tim Draxl, Liam Head and Aydan are also all excellent in their supporting roles.

    The real stars of this show are the three leads, Emily Nkomo, Maggie McKenna and Grace Miell. Their performances were some of the best I’ve ever seen on a musical theatre stage. They combined technical brilliance with raw emotion and incredible presence. They made the show stand out. McKenna in particular gave one of the best performances I have ever seen on stage (which led to the aforementioned mid-show standing ovation) when they sung ‘You Oughta Know’ in the second act. It was jaw-dropping – charisma combined with incredible singing. The audience around me was gasping when McKenna was singing. It was the perfect performance and worth the price of admission in itself.

    The ensemble were also really strong throughout. Their performance was tight, refined and backed up with really strong technical foundations. The singing was particularly impressive, with the movement around the stage also complementing the performance nicely. The set design, lighting and costuming were also seamless and solid throughout.

    Some of the less noticeable things were also very impressive. I particularly liked that the orchestra pit was above the stage rather than below the stage and out of sight as it gave more of a feel of a live performance; especially after so long, it was nice to get that ‘feel’ of live music again. The spotlight was also placed upon them in crucial moments, which was a nice touch. The cast inviting the crew out at final bows was also appreciated by the opening night audience and really gave the sense of an ensemble, which shone through in the performance as well.

    The Theatre Royal was also a great venue. Newly refurbished and in the heart of Sydney (a 7ish minute walk from Wynyard), it had everything you’d want for theatre. The acoustics were great, the design of the foyer areas was really nice and most importantly, the tiering and steepness of the seating was perfect. We were sitting about halfway up in the dress circle and we had a perfect view of the stage (even with a few very tall people sitting in front of us). This is not always the case and is a huge plus when a venue gets this right.

    After some thought, I really cannot come up with anything constructive to say about this show apart from how good it was. It was truly flawless. While it is only on for a short season (until mid-September), I want to see it at least two or three more times before it leaves. It was that good. More than any other show, I’d advise everyone to get down and see this show. It’s current, it’s witty, it’s entertaining and the music will blow you away.

    Jagged Little Pill is playing at the Theatre Royal Sydney until 11 September. Save up to $256 by using this link to find tickets. Alternatively, TodayTix is offering a limited amount of $45 tickets on a first-come, first-serve basis each day which you can find out more about here.

    Image: Supplied (Photographer: Daniel Boud)

  • REVIEW: Once – haunting and breathtakingly beautiful

    REVIEW: Once – haunting and breathtakingly beautiful

    Kiran Gupta reviews Darlinghurst Theatre Company’s Once at Eternity Playhouse.

    Over the last two decades or so, there has been a marked increase in movie musicals as film producers scramble to adapt the latest (or classic) Broadway showstopper to the big screen. It is somewhat rarer to see a movie adapted into a musical. Once is one of those exceptions. Starting off with a budget of €112,000 from the Irish Film Board, the film turned into a sensation, receiving critical acclaim, box office success and Grammy and Academy Award nominations. With a beautiful score behind it, it was always going to be turned into a musical. 

    Like most theatre companies at the moment, Darlinghurst Theatre Company has had some bad luck through the pandemic. After running Once to huge success in 2019, they booked a return season last year which was, of course, cut short by the pandemic. Thus, as a second return season, the pressure was well and truly on the company to deliver. And they did. I’m not one for hyperbole, but this truly was one of the most tight, cohesive and emotional shows I have ever seen. But why? What made this show better for me than, say Moulin Rouge, or some of the other big budget shows around at the moment? One word: precision. 

    The storyline of Once is moving but subtle. If you’re looking for a bombastic musical with death, war and destruction a la Les Mis, this isn’t the place to go looking. As a result, the cast had a relatively challenging job from the outset in keeping the audience interested and engaged with the story. This was impeccably done from the outset with Toby Francis pulling all the focus to the stage with a rousing opening number. The atmosphere was maintained effectively through the ensemble, who had to do everything in this show, from playing the instruments to acting as crew to shifting in character every few scenes. It would be easy for something to go wrong. But it didn’t. They were so well-rehearsed that every transition was seamless. It made a huge difference to the enjoyment of the show – it really made it feel as though a story was unfolding before your very eyes rather than simply attending a show. 

    Even with all that said, there was one true star of the show: Stefanie Caccamo. Taking on the lead role, she did so with finesse and absolute poise all throughout. Her rendition of “If You Want Me” was chill-inducing, layered with emotion and decadent power. Every time she was on stage, she drew focus with a powerful, amusing yet sensitive performance. While the whole cast was brilliant, her performance in particular was a highlight. 

    This was a musical that had attention to detail completely nailed. Even Richard Carroll and his team’s most subtle directing choices were brilliant. From the moment the audience walked into the theatre, some of the cast were playing on the stage which really added to the ambiance. Then, when the show commenced, the audience was immediately surrounded by the cast singing from all around the auditorium. A subtle direction but a very nice touch. The cast acting as the orchestra on stage was also fabulous and made the performance feel a lot more intimate. 

    This was one of those performances where you left wanting more. While the ending of the show is intentionally unsatisfying and is left unresolved, it leaves the audience reflecting on the show as they leave the theatre. And the more I reflected on the show, the more I realised how amazing it was. Everything melded together so well in seamless harmony, it was spectacular. Without a doubt, it was one of the best shows I’ve seen in Sydney. This is a show that should be sold out for every night of its run, and one that every theatre-lover should go see. The intricacies are next level and words can’t really do it justice – you have to see it to truly appreciate it. One thing is certainly for sure, I will be back again. I overheard many in the audience saying they were back for a fourth or fifth time and I for one don’t want to regret not seeing this show again before it closes in mid-August. This is not one to miss. 

    Once is playing at the Eternity Playhouse in Darlinghurst until 14th August. For more information and to buy tickets, click here. 

    Image: Supplied (Photographer: Robert Catto)

  • REVIEW: Mary Poppins: A world of delight, nostalgia and family fun!

    REVIEW: Mary Poppins: A world of delight, nostalgia and family fun!

    Kiran Gupta reviews Mary Poppins at Sydney’s Lyric Theatre.

    The last time I saw Mary Poppins, I was 12 years old. It was one of my first shows and I didn’t really understand theatre. But even then, I was amazed by the effects, the cast and the story. For children, it really does transport them into another world. 

    Attending over a decade later as an adult, I looked at the show through very different eyes. While there were plenty of adults and couples in the audience, a large number were children, likely experiencing theatre for the first time. When Mary Poppins came out, there was an audible gasp around the room, with children looking on in amazement. As she flew around all angles of the stage, the awe for the children continued and the energy was palpable. It truly is a perfect first show for children getting into theatre. 

    That said, coming back after nearly a decade, how would the show compare with 10+ years more of theatre-going experience? I think it is safe to say that, although perhaps I am no longer the intended audience, the magic is certainly still there. 

    Set in London during the Great Depression, the musical has a particularity to it (order and precision, am I right?) This means that the cast has to be tight and note-perfect as even the slightest imperfection will be noticed. Of course, this is even more difficult when two of the leading characters are primary-school age children. In saying that, I was mightily impressed with just how tight the cast were. They were completely in sync throughout, the ensemble moving and singing in complete unison and not missing a beat. Entries, exits and cut-offs were all precise and complete with crisp British accents. While the leads were stunning, the ensemble’s precision and attention to detail was what took this show to the next level. 

    And what about the leads? Stefanie Jones was show-stopping in her portrayal of Mary Poppins. Her voice soared through the theatre, aimlessly switching between a classical and more modern theatre tone. She commanded the stage with her presence, coming across as an authoritative yet caring figure (just as Mary Poppins) should be. Tom Wren and Lucy Maunder were excellent as the Banks parents and Noah Missell brought a wonderful sense of innocence and inquisitiveness to his portrayal of Bert. Theatre legend Nancye Hayes AM received one of the biggest cheers of the night for her emotional portrayal of the Bird Woman. 

    But the most notable mention must go to the two children, Amara Kavaliku and William Steiner. To remain focussed and committed to such demanding roles for nearly three and a half hours at their age is jaw-dropping. Their singing was excellent and their dancing was precise at every point. They did not look in the slightest nervous and were fully committed to their characters throughout. Given the central focus on the Banks children throughout the show, Kavaliku and Steiner’s portrayals had the potential to make or break the show. In this case, they brought the house down. 

    The band was also excellent (how good is it to hear a live theatre band again?), combining well to perfectly complement the actors on stage. Sound quality, lighting and costuming were also excellent throughout. Set design was solid however, at times, I did wish that more creative license had been taken. While Mary Poppins is a well-known musical with established tropes, there was perhaps still a little room for innovation which could have enhanced the performance slightly more. That said, the stagecraft of the performers and the stunts were seamless and certainly awe-inspiring for the children (and adults!) in the audience. 

    So, in the end, what’s the verdict? There’s something for everyone at this production of Mary Poppins. While children will be amazed and inspired, the quality of the production means that adults will thoroughly enjoy themselves too. There is something for everyone at the Lyric Theatre at the moment, after all, doesn’t everyone need a spoonful of sugar every now and again?

    Mary Poppins is currently playing at Sydney’s Lyric Theatre. Tickets are available here.

  • Jagged Little Pill hits the Theatre Royal this week

    Jagged Little Pill hits the Theatre Royal this week

    Kiran Gupta looks ahead to Jagged Little Pill

    When I saw Jagged Little Pill in Melbourne, I was astounded. It had everything you could want from a musical, a great story, great music, social awareness and most importantly, a stellar cast.

    Now, after a limited season at the end of December in 2021, Jagged Little Pill returns to the beautiful Theatre Royal for a return season. This is not a production to miss.

    Multi award winners Natalie Bassingthwaite and Tim Draxl star as the Healys and are ably supported by Emily Nkomo and Maggie McKenna (who I reckon are the stars of the show but more on that to come). It’s fast-paced and it’s fresh. It’s not a show you want to miss.

    The launch of the show also served as a launch for the launch of 25 Martin Place. It’s a beautiful space, revamped with some lovely restaurants and rooftop bars. All perfect complements to a night at the theatre.

    Tickets for Jagged Little Pill are available here.

    Image: Supplied (Photographer: Salty Dingo)

  • REVIEW: Le Dîner en Blanc: Sydney’s Greatest New Spectacle

    REVIEW: Le Dîner en Blanc: Sydney’s Greatest New Spectacle

    Kiran Gupta reviews the iconic Le Dîner en Blanc at the Domain.

    Over the last few years, some would argue Sydney has lost its magic. Its vibrant CBD, filled with world-famous monuments has lay desolate as office-goers and Sydneysiders moved their place of work back home and largely stayed within a short distance of their home. Even as Sydney has moved out of lockdown and life has slowly started to get back to normal, the CBD still seems a shell of its former self.

    I wouldn’t say that this is reflective of a post-lockdown fatigue. Quite to the contrary, Sydneysiders seem to be flocking to events, with musicals, sporting events and restaurants selling out within minutes. Yet the CBD remains dormant. Perhaps that will change after Le Dîner en Blanc.

    Part of a worldwide event founded in 1988 and spanning six continents, Le Dîner en Blanc is an event like no other. Picture hundreds of guests, dressed head to toe in white. No creams, no off-whites, no ivory. It’s quite a sight.

    After previous iterations of the event were hosted in iconic Sydney locations like Bondi Beach and the Opera House forecourt, host Antoine Bessis had his work cut out finding a venue to match this year. After being rescheduled 3 times due to incessant rain and the pandemic, his team finally settled on The Domain, a fitting venue for hundreds of Australians to come together to leave and breathe the Sydney city once again.

    We were welcomed into the Domain by volunteers and staff, all dressed in white. The iconic Sydney venue was littered with tables and chairs and when surrounded by trees all around, seemed to be decked out almost like an arena. In the middle of the venue stood the largest disco ball in the world, which was handcrafted for two weeks at Fox Studios just for the event. It was a stunning backdrop for a fully moonlit Sydney night, and just the spark required to get Sydney rolling again.

    The premise of the evening is that everyone brings their own tablecloths, cutlery and food and treats themselves to their own special meal, either in a group or with a significant other. There is also the option to purchase one of the specially-crafted gourmet hampers from the organisers. Our hamper consisted of some beautiful produce, from fresh Yamba prawns to a gorgeous beef rump to some cute little macarons to finish off. It was a perfect complement to a beautiful evening.

    After the meal was over, it was time to hit the dance floor. It felt as though two years of energy was being collectively released by a sea of bodies swaying arrhythmically to ABBA, Bieber and everything in between. Everyone was out and enjoying the city once again and the joy was palpable. There was a really pleasant vibe to the whole evening, from the friendly volunteers to the other guests who all wanted to make sure that everyone had the best time. When everyone lit their sparklers into the air, it was chill-inducing: a moment of magic suspended in time as the Domain momentarily transformed into a sea of orange. This was the event that Sydney needed, and wow, did it deliver. I couldn’t think of a more gorgeous and refined way to make Sydneysiders fall back in love with their beautiful city.

    To find out more about Le Dîner en Blanc, visit dinerenblanc.com

  • REVIEW: Six The Musical – A Vociferous Explosion of Death, Drama, and a bit of Pizzazz

    REVIEW: Six The Musical – A Vociferous Explosion of Death, Drama, and a bit of Pizzazz

    Six The Musical – Sydney Opera House

    Divorced. Beheaded. Died. Divorced. Beheaded. Survived.  

    One by one, the six wives of King Henry VIII are introduced, each one turning to reveal themselves. When the queens first roar in unison, a cacophony of sound erupts around the stadium. The sound is partly audience gasps, partly applause but mostly the booming sound of the six voices bouncing off every wall in the Opera House’s Studio Theatre. 

    Six is not your typical piece of musical theatre. It starts more like a concert, with the six queens introducing themselves. The wives of King Henry VIII, all competing to decide who had the most dismal life.

    Each queen takes turns at introducing their story, with power, passion and gusto, ably supported by an all-female four-piece band and stunning light show. In the end, the queens reclaim their story. They aren’t just the wives of Henry VIII. Now, they are the stars of the show. They point out that instead of rewriting HIStory, they are making HERstory.  

    Stylistically, Six is very much in the vein of its contemporaries in new musical theatre. It’s not a completely sung-through musical like the megamusicals of the 70s and 80s and there’s not a whole lot of plot. 

    Instead, the structural cohesion relies heavily on the blend between different styles of music and between song, dialogue and Sprechstimme-esque rap. With only six singers and a four-piece band on stage, there’s a lot of skill in making sure that this kind of structure does not fall apart. 

    This is one of the most admirable things about the musical. For all the pizzazz of the extravagant costumes and the even more extravagant queens, it would be very easy for the substance of the musical to become lost. 

    Here, the sterling performance of the six queens means that the show both looks good and sounds even better. Connection is never lost and the queens guide the audience safely through the plot, meaning the structure never unravels. The biggest hurdle in this show is passed with flying colours. 

    While the queens are at their fabulous best when they are singing in tandem, they have some powerful moments on their own as well. Phoenix Jackson Mendoza is outstanding as Aragon, lighting up the stage with fire, passion and incredibly secure vocals. Loren Hunter’s solo mid-way through the show is a stunning contrast, bringing another side of the queens to the fore and leaving the audience holding their breath. 

    The witty banter between Kala Gare and Chelsea Dawson provides excellent comic relief and Kiana Daniele’s performance as Cleves is both sultry and super powerful. While all the queens were incredible, Vidya Makan is particularly impressive. With one of the more difficult roles (playing the wife who actually survived), Makan approaches the role with grace and gusto, connecting remarkably well with the audience. As her character develops throughout the show, she takes the audience with her, making them feel just as much a part of the journey. 

    The band are super tight, often moving in sync with the performers as if they are also members of the cast. With such a small ensemble, the energy of the band really helped to fill the space and added a lot of ambiance to the show. The lighting is bedazzling, complementing the performers with all shades of the rainbow as the show progresses. It really is a sight to behold (even if the strobe lighting is borderline blinding at times). 

    Six is a celebration of female musicality and a very powerful one at that. Its message is simple yet strong and empowering. At only 75 minutes in length, it’s short, sharp and wildly entertaining. 

    As the quintessential musical of the 21st century, both thematically and stylistically, this show has it all and deserves all the praise it has been getting. It’s clear why the cast album is the second most streamed theatre album globally (after Hamilton). It’s unashamedly brash yet it’s backed up with plenty of substance and life. The style of the show means that it feels a lot more accessible to the audience; they are not just watching a show but are part of the show. And the incredible actresses on stage do everything they can to facilitate that connection. 

    This isn’t just a show that everyone should see. It’s a true must-watch on the Sydney theatre stage. With live theatre back and booming again, Six truly is the vociferous explosion of life, song and dance that we all need. 

     

    Kiran Gupta

    Fr 2019

    B. Arts (Media Studies) / B. Law

     

    Image: James D. Morgan