William Chong

Aucklanders, forget your staid TV shows and fireside novels this winter. The preeminent show in town this month is undoubtedly Andrew Lloyd Webber’s smash-hit musical, “CATS”. I took the opportunity during the week to see the Auckland production of the musical that arguably sparked the ongoing West End/Broadway revival.

Staged as part of the Harlequin Musical Theatre’s 50th year anniversary show, this Howick-based group takes temporary residence at the Auckland Civic Theatre from 6-27 June 2009. “CATS” is an impressive performance full of wit, personality and athleticism that elevates the cast well above suburban-production status.

Featuring Kiwi singing legend Tina Cross in the role of Grizabella and Dancing with the Star finalist Shane Cortese as Rum Tum Tugger, there was definitely an air of professionalism as a motivated motley of singers, dancers and musicians played their part in bringing T.S Eliot’s jellicle cats to life.

After getting over musically-hesitant opening, the show pounced into action with much song and dance. The opening number “Jellicle Cats” startled the senses as cats appeared from the nooks and crannies of a larger-than-life rooftop set, bursting into impressive melodies and impeccably choreographed movements. The plot revolves around a single night when the tribe of Jellicle cats unite to celebrate who they are, and to select one of them to be reborn in “cat heaven” – though one was left bemused as to the peculiar nature of this transformation (hint: it involves a flying chimney).

The audience were treated to plenty of outstanding feline personifications throughout. There was Shane Cortese and his Elvis-like interpretation of Rum Tum Tugger (probably fortunate to fit into his gasp-for-air PVC pants). Cat-burglars Mungojerry (Clinton Meneses) and Rumpleteaser (Andrea Grant) impressed with their paired choreography and a number of spectacular lifts. Skimbleshank (Tom Webster) with his railway-cat number was a notable delight, particularly when the resourceful cat chorus spontaneously crafted a full-blown steam engine out of back-alley junk pieces. Tina Cross drew lengthy applause with her spirited treatment of the stirring theatre classic “Memory”; it was a joy to hear it in context as opposed to the much-hyped, Susan Boyle rendition.

Perhaps the best reason for going to see “CATS” is that it’s engaging enough for the everyday punter. The high production values, stunning pyrotechnics and well-rehearsed numbers will impress anyone from the musically-vacant to the seasoned theatre-goer. You probably won’t understand everything the cast are singing and dancing about, but they’ll still convince you in a riposte of musical delight that there’s more to cats than meets the eye.

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Andrew Lloyd Webber’s blockbuster musical made a triumphant return to the New Zealand stage this week, as the first of a series of sold-out performances bade haere-mai to one of the greatest musicals of all time. Performing in Auckland from 14 Oct 2008 to 16 Nov 2008, “The Phantom of the Opera“ is a critically-acclaimed masterpiece that features on the must-see-before-I-die list of even the mildest of musically-inclined punters. New Zealand-based Phanatics, myself included, have waited almost a generation for memorable tunes like Music of the Night and All I Ask of You to fill the cavernous Civic Theatre in Auckland – the last time Phantom hit our shores was in 1997 during an Australasian tour that totalled a record 3,073 performances.

Breathtaking Gothic-inspired scenery and quickfire set changes; the famous scene with the boat on a misty, underground lake; commanding performances by the Australasian-based cast of 37 performers; pyrotechnics, slick stagecraft and magical sleight-of-hand: these were some of the highlights of a well-received Saturday evening marquee perfomance (18 Oct 2008; 7.30pm).

Australian fans are familiar the voice of Anthony Warlow – it’s electrifying, majestic, and now better acquainted with the appreciative ears of Kiwiland. His performance as the Phantom – a deranged, disfigured genius composer living in a cavernous lair underneath the Opera Populaire in Paris – was enthralling and engaging to both first-time audiences and lip-syncing veterans of the production.

The role of tortured chorus-girl turned protegé Christine Daae was handled commendably by Ana Marina, who showed a proficiency in her singing of songs such as Think of Me and Wishing You Were Somehow Here Again. One sometimes felt that the innocence of the character was lost in her mature-sounding voice; at times the Phantom seemed to be the more youthful and playful of the tragic couple. There were other standout characters of the night, such as the tender, almost metrosexual portrayal of Raoul (he almost looked content with being caught by the Phantom’s hang-man lasso during the climax of the show). The comedic trifecta of André, Firmin and the prima donna Carlotta (played by New Zealander Andrea Creighton) drew frequent laughs with their posturing, seen most effectively during a scene where the characters flummoxed over the multitude of notes being sent by the Phantom (Notes…). Admittedly, the song Prima Donna suffered a little from the bevy of characters onstage trying to simultaneously sing over each other a la some sort of NZ prime ministers’ debate.

It’s not just the actors and actresses that make the show: Phantom of the Opera features an extravagant set that boasts a spaceship-like chandelier, candelabras that emerge from the stage, and incredibly detailed and ornate scenes like Christine’s dressing room (featuring an illusory one-way mirror from where the Phantom makes his first appearance). Characters were dressed up in a kaleidoscope of colours and outfits, most notably during the Masquerade sequence which dazzled the eyes in a juxtaposition of costuming and crisp choreography.

This is an internationally-acclaimed show on a level of professionalism streets ahead of the competition – catch it while you can, or wait another 11 years (or more) to savour the lush and romantic offering of this West End classic.

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Was the hype and sold-out tickets worth it? Was it fun to watch Ian McKellen in such fine form? Shakespeare’s coming-of-old-age tale (a bildungsr-oldman, if you will) was compellingly and very efficiently portrayed.  Quick and relentless scene changes juxtaposed with the portrayal of a frail king in decline made for enthralling theatre.

A full house also appreciated the excellent performances of Edmund and Edgar, played by Philip Winchester and Ben Meyjes – no one seeming more manipulative than Winchester’s bastard-son character.  Whilst not quite stealing the thunder and lightning from Lear’s storm scene transformation, RSC freshman William Gaunt playing the Earl of Gloucester delivered much kinship and sympathy (no one’s eyes have been theatrically gouged out so well).

Sylvester McCoy as Lear’s Fool provided plenty of giggles, with multiple talents ranging from playing the spoons to singing his pentameter to just having a good guffaw onstage!  One had to wonder how he managed to stay noosed through the interval for so long, following his hanging.

The three sisters were played out most effectively, from the schemings of Goneril and Regan (Frances Barber and Monica Dolan) to the compassionate warmth of Romola Garai’s portrayal of banished daughter Cordelia.

On the whole an outstanding performance.

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Watched the Macleans school production of Disney’s “Beauty and the Beast” last night. Co-directed by Janet Jennings and Jacqui Hood, the show offered a real mix of outstanding and average singers, impressively meticulous choreography, and a good balance between comic and dramatic in a commendable school production. The male leads (Beast, Gaston, le Fou, Lumiere) excelled more in their dramatic/comic portrayals (the Beast played by Matt Hoyles felt a little stilted), whilst the female characters were the next step up – Hannah Lee successfully carrying many of the scenes herself when things got a little cumbersome. Special mention also to Andrew Paterson’s portrayal of a much more innuendo-inclined Gaston as well as the Cogsworth Lumiere Mrs Potts trio (Katherine Jennings, Steve Waganivavalangi, Stephanie Wood), all with polished performances. Wood’s shining hour in singing the title track encapsulated a beautiful moment for many in the audience.

The excellence of Alan Menken’s score (no mean feat getting Disney tunes to its luscious best) was attended to very well by musical director Nigel Weeks, and detailed and beautiful sets made the perfect backdrop for one of Disney’s greatest animated musicals of all time. Some of the longer chorus numbers dragged on a bit with multiple verses (Gaston himself sang about the countless refrains).

The school seems to bring on a bigger and more ambitious undertaking each passing year, but the student cast are equal to the challenge and provide the talent and drive to make the show a successful one.

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-More on Disney-

Some further thought on the story itself – if you’ve seen the animated feature (which I’m sure many have), I’m sure you’ve realised that films like Beauty and the Beast, The Little Mermaid and The Lion King are part of a past era in Disney animation that focussed on great music, enriching lyrics and a classic fairy tale adventure in most instances. The folks at Disney in recent years however have put out bombs such as Atlantis: The Lost Kingdom, Home on the Range and Brother Bear as animations.

With the wider success of CGI works such as Monsters Inc., Ratatouille and The Incredibles, one might be quick to call the death of traditional animation… but I’d like to argue that the classic musicals (which have each spawned Broadway successes) stand the test of time and have more of an emotional resonance (enough to be Oscar-nominated at least), especially when you revisit them as adults.

Therefore it’s very encouraging to see that Disney’s 2009 release The Princess and the Frog will be a return to the Broadway-style musical in the same style as we’ve been mentioning. Can’t wait for new songs to hum.

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