Download adelaide fringe 2004 review

Survey
yes no Was this document useful for you?
   Thank you for your participation!

* Your assessment is very important for improving the work of artificial intelligence, which forms the content of this project

Document related concepts

Theatre of the Oppressed wikipedia, lookup

English Renaissance theatre wikipedia, lookup

Augsburger Puppenkiste wikipedia, lookup

Theatre of France wikipedia, lookup

Cats (musical) wikipedia, lookup

Transcript
www.theatreguide.com.au
Supporting live theatre in South Australia
PO Box 738
MODBURY SA 5092
[email protected]
ABN : 93 297 960 525
CATS
Lunchbox Theatrical Productions, David Atkins Enterprise and Base Entertainment Asia in
association with The Really Useful Group
Adelaide Festival Theatre
Until 10 April 2016
Review by Kylie Pedler
An explosion of music and flickering cat-eye lights, are followed by the unexpected, caressing nudge of a
cat’s head on your lap. As the lights lift and the larger-than-life junkyard is revealed, you are welcomed
to the Jellicle Cats’ special night—a night that will be remembered for a long time to come!
Told through a series of tales, introducing various cats and their unique qualities, the narrative is loosely
based around a Jellicle Cat Ball held once a year when celebrations are had, stories are shared and one
cat is chosen to ascend to the Heaviside Layer.
Based on the words of T.S. Eliot’s “Old Possum’s Book of Practical Cats”, and an unpublished poem
“Grizabella the Glamour Cat” Andrew Lloyd Webber and Cameron Mackintosh made history in the early
80s with their ground-breaking production despite last minute cast changes and bomb threats on
opening night. From its conception, this musical has had its ups and downs. While the 1989 Adelaide
tour was considered brilliant and memorable by this reviewer as a 12 year old, the revival that followed
some years later was disappointingly lacklustre. Thankfully, the shows original creative team, Director
Trevor Nunn and Choreographer Gillian Lynne, are back and so is the show’s original glory. This current
production is magnificent! Dance, vocals, costuming and lighting all work together to bring this
production to life.
In this production, each character is of equal importance—a true ensemble performance, nicely
highlighted in the individual bows to close the show. There are however some standout performances as
everyone makes the most of their moment to shine.
Josh Piterman plays Gus the Theatre Cat with sensitivity, evoking compassion for his hands that shake
with palsy and empathy for the life he has left behind. Admirably, his talents are showcased further as
he instantly becomes the dashing Growltiger, vocally superb and polished in the Italian duet.
Ross Hannaford shows nimble agility as Skimbleshanks the Railway Cat, bringing life and joy to the
stage as he leaps across it with panache. A nice modern twist is Rum Tum Tugger as a tattooed,
dreadlock rapper. While, Daniel Assetta dances a storm in this role, he shines when singing in other
numbers.
Well-deserved, spontaneous applause (on opening night), recognised the magical feats of Mr
Mistoffelees performed by Christopher Favaloro. Breathtaking leaps, pirouettes and fouettes are all
perfectly timed with pyro technics, enhancing the illusion of perfection.
There are enchanting vocal moments such as the choir of angelic harmonies by the company in “Jellicle
Songs for Jellicle Cats”, but also times when diction could be improved. Jason Wasley is exceptionally
fine as well respected elder, Old Deuteronomy, as are Stephanie Silcock as Jemima and Amy Berrisford
as the sultry Bombalurina.
www.theatreguide.com.au
Supporting live theatre in South Australia
PO Box 738
MODBURY SA 5092
[email protected]
ABN : 93 297 960 525
Vocally, show headline Delia Hannah is superb, building to the expected climatic line in the Act 2
"Memory” with a perfect powerful tone; however, on opening night her performance was disappointing
overall, lacking the intense relational dislike of the other characters and the emotional desperation of a
cat ready to leave this world.
Despite the standout performances, what is truly applaudible is the way each cat slips back into the
ensemble, working beautifully as a member of the team. A credit to the performers, Lynne and Nunn
alike.
From the tilt of the elbow to the position of the hand, the arch of the back to the inclined movement of
a head, these cats are "purr"fection—extremely skilled performers mastering the highly technical, artistic
dance choreography in beautiful sync.
Purr-fect for cat lovers, dance-crazed generations and people who truly appreciate fine artistic theatre.