"Kiss Me Kate" Review by Cuchulainn
Wed, 28 July 2004, 07:59 amWalter Plinge2 posts in thread
"Kiss Me Kate" Review by Cuchulainn
Wed, 28 July 2004, 07:59 amKISS ME KATE
Music and lyrics by Cole Porter
Book by Sam and Bella Spewack
Leongatha Lyric Theatre
Leongatha Memorial Hall
Cnr McCartin and Bear Streets
Leongatha 3953
Director: Peter McAlpine
Musical Director: Larry Hills
Choreographer: Tanya Walker
Designer: Colin Mitchell
July 16, 17, 18, 22, 23, 24, 25, 29, 30, 31
Adults $22, Concessions $18
Credit card payments 10% surcharge
(Book on-line at www.lyrictheatre.net.au)
Lyric Theatre has a long tradition of all-round excellence -- the kind of grounding that's usually found only in communities with a rich cultural heritage, especially in the performing arts. Leongatha, in South Gippsland, is such a community. Its annual eisteddfodd attracts strong representation from the surrounding districts as well as from across the state.
But longevity for a group like Lyric Theatre relies on more than heritage or even sheer ability. It's the result of a prevailing culture of generosity and sharing -- a willingness to find and foster new talent, free from the kind of fear of loss that often infects local cultural groups, leading to jealousy, rivalry and the kind of game-playing that stifles and discourages wider participation or the nurturing of new talent, especially amongst the young, sowing the seeds of those groups' inevitable demise. They slowly dwindle into self-indulgence, irrelevance and recrimination.
Guided by the formidable talent, experience, perceptiveness and maturity of visionaries like Ron and Mary Eagger over more than three decades, a group like Lyric Theatre gains a level of confidence and expectation -- and a reputation amongst its broad and loyal audience -- that intills a standard of excellence that is simply assumed by everyone involved.
I've watched Lyric Theatre, on and off, since the early 1970s and I've never been disappointed by any of the productions I've experienced. Their current production, "Kiss Me Kate", is no exception. I attended, with one of my daughters, on Saturday 24 July 2004.
Our attendance was pure serendipity. We happened to be in Leongatha that afternoon and saw posters for the show. It just so happens that my daughter has a rich cultural heritage and a passion for music theatre of her own, and one of her all-time favourite musicals just happens to be "Kiss Me Kate". So fate played its hand and we stayed on into the evening to catch up on this latest offering by Lyric Theatre.
We were not disappointed, in any respect.
The program features a dedication to the late Dr Ron Eagger on the inside front cover. I was saddened to learn of Ron's passing. But as I sat through the show, watching the cast and orchestra, the audience and my youngest daughter, it struck me that what I was seeing and hearing was a wonderful legacy and a fitting tribute to a man whose enlightened view of the world I had long admired.
The well-designed, 28-page program was a revealing source of interest and information, and a tribute in itself to both the skills of the Lyric team and the support it enjoys from local business. Filling more than 6 pages with advertising takes serious effort and good connections, and means that the cost to patrons is kept to an affordable level. I was impressed.
The next level of engagement with the production was the set, exposed to view as we took our seats. Lyric Theatre performs at the refurbished Leongatha Memorial Hall, located in the civic centre right on the town's main intersection. The hall's proscenium and stage are very small, but the stage area has been extended by use of an apron. Colin Mitchell, Lyric Theatre's long-time production designer, has brought his talent for innovation and acclaimed professional design skills to bear once more, creating a series of imaginative solutions that maintained keen interest and regular surprises. As always, Colin's designs -- both scenery and costumes -- are impressive, and enhance the production without overwhelming the performance. It's a further tribute to the strength of Lyric Theatre that it creates its own wardrobe. This is a company that hires out its costumes rather than hiring them in. Smart.
What I thought was to be the overture turned out to be the opening number. Without ado, we were into the show at a cracking pace that never flagged all night. If there's a single word that sums up this production for me, it has to be exuberance. Director Peter McAlpine has managed to inspire his cast with an enthusiasm that's infectious and irresistible. He's also managed to assemble a cast that is uniformly excellent. Community theatre's great appeal for me is its accessibility for anyone keen to tread the boards. That sometimes means making allowances, in terms of performance standards. Try as I might, however, I can't recall a single character who needed any allowance, even scouring the program's excellent portrait photography.
McAlpine's flair was evident throughout the performance. Creative use of props and scenic elements, supported by Colin Mitchell's superb design and execution, and Tanya Walker's inspired choreography, lifted the production to the point where it was an effort to remain conscious of such details for the purpose of this review. (A highlight for me was the opening number of Act Two, "Too Darn Hot", which featured the entire cast in an exhilarating tap dancing display.)
Which brings me to the orchestra, and Musical Director Larry Hills.
That rich musical heritage I mentioned at the outset is well represented in this ensemble. Despite some early disonance (I couldn't quite identify the source, but I suspect an out-of-tune instrument that was soon corrected), the orchestra -- a relatively small one by Lyric tradition -- featured some outstanding playing, especially by lead trumpet, Glenn Calder. Hills' strong direction was clearly discernible in the strength of the singing and playing. No production sounds this consistently good without inspiring leadership, backed by solid musical ability.
Leongatha is a renowned centre for music in regional Victoria. As I've stated in other reviews, I'm continually impressed by community theatre companies able to draw on deep musical roots like this. (Diamond Valley Singers is another such group.) There's a quality to their solo and ensemble singing that's rarely matched by companies primarily drawn from an acting base. The singing in "Kiss Me Kate" seemd to improve as the evening progressed. Cole Porter's brilliant and timeless music and lyrics were brought to sparkling life that drew instant applause.
Sound and lighting were also excellent. No 'dead' spots, no harshness, no obviously-missed cues. Everyone could be seen and heard clearly. The technical contribution added to the enjoyment of the theatrical experience without the audience being conscious of it -- the hallmark of technical excellence. Scene changes were smooth and unobtrusive or, where obvious, as in the transformations from backstage to on-stage as the production-within-a-production (Shakespeare's "Taming of the Shrew") proceeded, were executed with real interest and flair, adding to the performance, not diminishing it.
The principals are all well-cast and consistent in their individual performances, a further testament to Lyric Theatre's basic strength. Russell Hemming, as Fred Graham/Petruchio, was in fine voice in a wonderfully -- and utterly politically incorrect -- macho performance, slipping effortlessly between the two roles.
Chelsea Lewis as Lilli Vanessi/Kate captures the essence of the prima donna, alternating between icy aloofness and spoilt tantrums as Lilli, then spilling over into the explosive outbursts of fiery temper as Kate the Shrew -- yet skillfully avoiding allowing these characters to run into each other, despite their similarities. We're never in any doubt as to which part she is playing. There's an assurance here that's truly gifted. Lewis has an excellent "Broadway Belter" vocal style that matches her roles beautifully, despite the occasional insecurity in her upper register. She's the perfect foil for Russell Hemmings, and matches his strength of performance at all times.
Tim Edwards as the affable Bill Calhoun/Lucentio sings and acts well in these likeable, lightweight roles. His voice isn't strong, but the sound system takes care of that. His stage presence is an audience-winner.
Alison McIntyre is a natural as Lois Lane/Bianca. Earthy, provocative and extroverted, but with a vulnerability that softens her twin personae, McIntyre delivers brilliantly on the potential of her early performances that were my recollections of her on-stage work. Trim, taut and terrific, she acts, sings and dances with real panache. She endears herself instantly and never drops her characterisations or relinquishes her place in the spotlight for an instant.
David Panther and Glen Turner as the thick thugs are a pair of scene stealers of the most outrageous kind -- and they know it! Turner, in particular, gives such a skillful performance that it's hard to tear your eyes away from him. And their duet "Brush Up Your Shakespeare" -- with multiple hats and encores -- brought the house down on Saturday night.
The minor principal roles were all well performed, with a particularly strong performance by Noel Stringer as General Harrison Howell.
The ensemble cast were also excellent. Powerful chorus work, intelligent reactions, good humour and exuberant dancing all combined in a thoroughly delightful performance.
Conclusion:
If you're a fan of Cole Porter, Lyric Theatre or just great music theatre, this production of "Kiss Me Kate" is well worth seeing. This is almost as good as it gets.
**** (Four stars)
Cuchulainn
"Neither fear nor favour"
cuchulainn@spendsmarter.com
Music and lyrics by Cole Porter
Book by Sam and Bella Spewack
Leongatha Lyric Theatre
Leongatha Memorial Hall
Cnr McCartin and Bear Streets
Leongatha 3953
Director: Peter McAlpine
Musical Director: Larry Hills
Choreographer: Tanya Walker
Designer: Colin Mitchell
July 16, 17, 18, 22, 23, 24, 25, 29, 30, 31
Adults $22, Concessions $18
Credit card payments 10% surcharge
(Book on-line at www.lyrictheatre.net.au)
Lyric Theatre has a long tradition of all-round excellence -- the kind of grounding that's usually found only in communities with a rich cultural heritage, especially in the performing arts. Leongatha, in South Gippsland, is such a community. Its annual eisteddfodd attracts strong representation from the surrounding districts as well as from across the state.
But longevity for a group like Lyric Theatre relies on more than heritage or even sheer ability. It's the result of a prevailing culture of generosity and sharing -- a willingness to find and foster new talent, free from the kind of fear of loss that often infects local cultural groups, leading to jealousy, rivalry and the kind of game-playing that stifles and discourages wider participation or the nurturing of new talent, especially amongst the young, sowing the seeds of those groups' inevitable demise. They slowly dwindle into self-indulgence, irrelevance and recrimination.
Guided by the formidable talent, experience, perceptiveness and maturity of visionaries like Ron and Mary Eagger over more than three decades, a group like Lyric Theatre gains a level of confidence and expectation -- and a reputation amongst its broad and loyal audience -- that intills a standard of excellence that is simply assumed by everyone involved.
I've watched Lyric Theatre, on and off, since the early 1970s and I've never been disappointed by any of the productions I've experienced. Their current production, "Kiss Me Kate", is no exception. I attended, with one of my daughters, on Saturday 24 July 2004.
Our attendance was pure serendipity. We happened to be in Leongatha that afternoon and saw posters for the show. It just so happens that my daughter has a rich cultural heritage and a passion for music theatre of her own, and one of her all-time favourite musicals just happens to be "Kiss Me Kate". So fate played its hand and we stayed on into the evening to catch up on this latest offering by Lyric Theatre.
We were not disappointed, in any respect.
The program features a dedication to the late Dr Ron Eagger on the inside front cover. I was saddened to learn of Ron's passing. But as I sat through the show, watching the cast and orchestra, the audience and my youngest daughter, it struck me that what I was seeing and hearing was a wonderful legacy and a fitting tribute to a man whose enlightened view of the world I had long admired.
The well-designed, 28-page program was a revealing source of interest and information, and a tribute in itself to both the skills of the Lyric team and the support it enjoys from local business. Filling more than 6 pages with advertising takes serious effort and good connections, and means that the cost to patrons is kept to an affordable level. I was impressed.
The next level of engagement with the production was the set, exposed to view as we took our seats. Lyric Theatre performs at the refurbished Leongatha Memorial Hall, located in the civic centre right on the town's main intersection. The hall's proscenium and stage are very small, but the stage area has been extended by use of an apron. Colin Mitchell, Lyric Theatre's long-time production designer, has brought his talent for innovation and acclaimed professional design skills to bear once more, creating a series of imaginative solutions that maintained keen interest and regular surprises. As always, Colin's designs -- both scenery and costumes -- are impressive, and enhance the production without overwhelming the performance. It's a further tribute to the strength of Lyric Theatre that it creates its own wardrobe. This is a company that hires out its costumes rather than hiring them in. Smart.
What I thought was to be the overture turned out to be the opening number. Without ado, we were into the show at a cracking pace that never flagged all night. If there's a single word that sums up this production for me, it has to be exuberance. Director Peter McAlpine has managed to inspire his cast with an enthusiasm that's infectious and irresistible. He's also managed to assemble a cast that is uniformly excellent. Community theatre's great appeal for me is its accessibility for anyone keen to tread the boards. That sometimes means making allowances, in terms of performance standards. Try as I might, however, I can't recall a single character who needed any allowance, even scouring the program's excellent portrait photography.
McAlpine's flair was evident throughout the performance. Creative use of props and scenic elements, supported by Colin Mitchell's superb design and execution, and Tanya Walker's inspired choreography, lifted the production to the point where it was an effort to remain conscious of such details for the purpose of this review. (A highlight for me was the opening number of Act Two, "Too Darn Hot", which featured the entire cast in an exhilarating tap dancing display.)
Which brings me to the orchestra, and Musical Director Larry Hills.
That rich musical heritage I mentioned at the outset is well represented in this ensemble. Despite some early disonance (I couldn't quite identify the source, but I suspect an out-of-tune instrument that was soon corrected), the orchestra -- a relatively small one by Lyric tradition -- featured some outstanding playing, especially by lead trumpet, Glenn Calder. Hills' strong direction was clearly discernible in the strength of the singing and playing. No production sounds this consistently good without inspiring leadership, backed by solid musical ability.
Leongatha is a renowned centre for music in regional Victoria. As I've stated in other reviews, I'm continually impressed by community theatre companies able to draw on deep musical roots like this. (Diamond Valley Singers is another such group.) There's a quality to their solo and ensemble singing that's rarely matched by companies primarily drawn from an acting base. The singing in "Kiss Me Kate" seemd to improve as the evening progressed. Cole Porter's brilliant and timeless music and lyrics were brought to sparkling life that drew instant applause.
Sound and lighting were also excellent. No 'dead' spots, no harshness, no obviously-missed cues. Everyone could be seen and heard clearly. The technical contribution added to the enjoyment of the theatrical experience without the audience being conscious of it -- the hallmark of technical excellence. Scene changes were smooth and unobtrusive or, where obvious, as in the transformations from backstage to on-stage as the production-within-a-production (Shakespeare's "Taming of the Shrew") proceeded, were executed with real interest and flair, adding to the performance, not diminishing it.
The principals are all well-cast and consistent in their individual performances, a further testament to Lyric Theatre's basic strength. Russell Hemming, as Fred Graham/Petruchio, was in fine voice in a wonderfully -- and utterly politically incorrect -- macho performance, slipping effortlessly between the two roles.
Chelsea Lewis as Lilli Vanessi/Kate captures the essence of the prima donna, alternating between icy aloofness and spoilt tantrums as Lilli, then spilling over into the explosive outbursts of fiery temper as Kate the Shrew -- yet skillfully avoiding allowing these characters to run into each other, despite their similarities. We're never in any doubt as to which part she is playing. There's an assurance here that's truly gifted. Lewis has an excellent "Broadway Belter" vocal style that matches her roles beautifully, despite the occasional insecurity in her upper register. She's the perfect foil for Russell Hemmings, and matches his strength of performance at all times.
Tim Edwards as the affable Bill Calhoun/Lucentio sings and acts well in these likeable, lightweight roles. His voice isn't strong, but the sound system takes care of that. His stage presence is an audience-winner.
Alison McIntyre is a natural as Lois Lane/Bianca. Earthy, provocative and extroverted, but with a vulnerability that softens her twin personae, McIntyre delivers brilliantly on the potential of her early performances that were my recollections of her on-stage work. Trim, taut and terrific, she acts, sings and dances with real panache. She endears herself instantly and never drops her characterisations or relinquishes her place in the spotlight for an instant.
David Panther and Glen Turner as the thick thugs are a pair of scene stealers of the most outrageous kind -- and they know it! Turner, in particular, gives such a skillful performance that it's hard to tear your eyes away from him. And their duet "Brush Up Your Shakespeare" -- with multiple hats and encores -- brought the house down on Saturday night.
The minor principal roles were all well performed, with a particularly strong performance by Noel Stringer as General Harrison Howell.
The ensemble cast were also excellent. Powerful chorus work, intelligent reactions, good humour and exuberant dancing all combined in a thoroughly delightful performance.
Conclusion:
If you're a fan of Cole Porter, Lyric Theatre or just great music theatre, this production of "Kiss Me Kate" is well worth seeing. This is almost as good as it gets.
**** (Four stars)
Cuchulainn
"Neither fear nor favour"
cuchulainn@spendsmarter.com
Walter PlingeWed, 28 July 2004, 07:59 am
KISS ME KATE
Music and lyrics by Cole Porter
Book by Sam and Bella Spewack
Leongatha Lyric Theatre
Leongatha Memorial Hall
Cnr McCartin and Bear Streets
Leongatha 3953
Director: Peter McAlpine
Musical Director: Larry Hills
Choreographer: Tanya Walker
Designer: Colin Mitchell
July 16, 17, 18, 22, 23, 24, 25, 29, 30, 31
Adults $22, Concessions $18
Credit card payments 10% surcharge
(Book on-line at www.lyrictheatre.net.au)
Lyric Theatre has a long tradition of all-round excellence -- the kind of grounding that's usually found only in communities with a rich cultural heritage, especially in the performing arts. Leongatha, in South Gippsland, is such a community. Its annual eisteddfodd attracts strong representation from the surrounding districts as well as from across the state.
But longevity for a group like Lyric Theatre relies on more than heritage or even sheer ability. It's the result of a prevailing culture of generosity and sharing -- a willingness to find and foster new talent, free from the kind of fear of loss that often infects local cultural groups, leading to jealousy, rivalry and the kind of game-playing that stifles and discourages wider participation or the nurturing of new talent, especially amongst the young, sowing the seeds of those groups' inevitable demise. They slowly dwindle into self-indulgence, irrelevance and recrimination.
Guided by the formidable talent, experience, perceptiveness and maturity of visionaries like Ron and Mary Eagger over more than three decades, a group like Lyric Theatre gains a level of confidence and expectation -- and a reputation amongst its broad and loyal audience -- that intills a standard of excellence that is simply assumed by everyone involved.
I've watched Lyric Theatre, on and off, since the early 1970s and I've never been disappointed by any of the productions I've experienced. Their current production, "Kiss Me Kate", is no exception. I attended, with one of my daughters, on Saturday 24 July 2004.
Our attendance was pure serendipity. We happened to be in Leongatha that afternoon and saw posters for the show. It just so happens that my daughter has a rich cultural heritage and a passion for music theatre of her own, and one of her all-time favourite musicals just happens to be "Kiss Me Kate". So fate played its hand and we stayed on into the evening to catch up on this latest offering by Lyric Theatre.
We were not disappointed, in any respect.
The program features a dedication to the late Dr Ron Eagger on the inside front cover. I was saddened to learn of Ron's passing. But as I sat through the show, watching the cast and orchestra, the audience and my youngest daughter, it struck me that what I was seeing and hearing was a wonderful legacy and a fitting tribute to a man whose enlightened view of the world I had long admired.
The well-designed, 28-page program was a revealing source of interest and information, and a tribute in itself to both the skills of the Lyric team and the support it enjoys from local business. Filling more than 6 pages with advertising takes serious effort and good connections, and means that the cost to patrons is kept to an affordable level. I was impressed.
The next level of engagement with the production was the set, exposed to view as we took our seats. Lyric Theatre performs at the refurbished Leongatha Memorial Hall, located in the civic centre right on the town's main intersection. The hall's proscenium and stage are very small, but the stage area has been extended by use of an apron. Colin Mitchell, Lyric Theatre's long-time production designer, has brought his talent for innovation and acclaimed professional design skills to bear once more, creating a series of imaginative solutions that maintained keen interest and regular surprises. As always, Colin's designs -- both scenery and costumes -- are impressive, and enhance the production without overwhelming the performance. It's a further tribute to the strength of Lyric Theatre that it creates its own wardrobe. This is a company that hires out its costumes rather than hiring them in. Smart.
What I thought was to be the overture turned out to be the opening number. Without ado, we were into the show at a cracking pace that never flagged all night. If there's a single word that sums up this production for me, it has to be exuberance. Director Peter McAlpine has managed to inspire his cast with an enthusiasm that's infectious and irresistible. He's also managed to assemble a cast that is uniformly excellent. Community theatre's great appeal for me is its accessibility for anyone keen to tread the boards. That sometimes means making allowances, in terms of performance standards. Try as I might, however, I can't recall a single character who needed any allowance, even scouring the program's excellent portrait photography.
McAlpine's flair was evident throughout the performance. Creative use of props and scenic elements, supported by Colin Mitchell's superb design and execution, and Tanya Walker's inspired choreography, lifted the production to the point where it was an effort to remain conscious of such details for the purpose of this review. (A highlight for me was the opening number of Act Two, "Too Darn Hot", which featured the entire cast in an exhilarating tap dancing display.)
Which brings me to the orchestra, and Musical Director Larry Hills.
That rich musical heritage I mentioned at the outset is well represented in this ensemble. Despite some early disonance (I couldn't quite identify the source, but I suspect an out-of-tune instrument that was soon corrected), the orchestra -- a relatively small one by Lyric tradition -- featured some outstanding playing, especially by lead trumpet, Glenn Calder. Hills' strong direction was clearly discernible in the strength of the singing and playing. No production sounds this consistently good without inspiring leadership, backed by solid musical ability.
Leongatha is a renowned centre for music in regional Victoria. As I've stated in other reviews, I'm continually impressed by community theatre companies able to draw on deep musical roots like this. (Diamond Valley Singers is another such group.) There's a quality to their solo and ensemble singing that's rarely matched by companies primarily drawn from an acting base. The singing in "Kiss Me Kate" seemd to improve as the evening progressed. Cole Porter's brilliant and timeless music and lyrics were brought to sparkling life that drew instant applause.
Sound and lighting were also excellent. No 'dead' spots, no harshness, no obviously-missed cues. Everyone could be seen and heard clearly. The technical contribution added to the enjoyment of the theatrical experience without the audience being conscious of it -- the hallmark of technical excellence. Scene changes were smooth and unobtrusive or, where obvious, as in the transformations from backstage to on-stage as the production-within-a-production (Shakespeare's "Taming of the Shrew") proceeded, were executed with real interest and flair, adding to the performance, not diminishing it.
The principals are all well-cast and consistent in their individual performances, a further testament to Lyric Theatre's basic strength. Russell Hemming, as Fred Graham/Petruchio, was in fine voice in a wonderfully -- and utterly politically incorrect -- macho performance, slipping effortlessly between the two roles.
Chelsea Lewis as Lilli Vanessi/Kate captures the essence of the prima donna, alternating between icy aloofness and spoilt tantrums as Lilli, then spilling over into the explosive outbursts of fiery temper as Kate the Shrew -- yet skillfully avoiding allowing these characters to run into each other, despite their similarities. We're never in any doubt as to which part she is playing. There's an assurance here that's truly gifted. Lewis has an excellent "Broadway Belter" vocal style that matches her roles beautifully, despite the occasional insecurity in her upper register. She's the perfect foil for Russell Hemmings, and matches his strength of performance at all times.
Tim Edwards as the affable Bill Calhoun/Lucentio sings and acts well in these likeable, lightweight roles. His voice isn't strong, but the sound system takes care of that. His stage presence is an audience-winner.
Alison McIntyre is a natural as Lois Lane/Bianca. Earthy, provocative and extroverted, but with a vulnerability that softens her twin personae, McIntyre delivers brilliantly on the potential of her early performances that were my recollections of her on-stage work. Trim, taut and terrific, she acts, sings and dances with real panache. She endears herself instantly and never drops her characterisations or relinquishes her place in the spotlight for an instant.
David Panther and Glen Turner as the thick thugs are a pair of scene stealers of the most outrageous kind -- and they know it! Turner, in particular, gives such a skillful performance that it's hard to tear your eyes away from him. And their duet "Brush Up Your Shakespeare" -- with multiple hats and encores -- brought the house down on Saturday night.
The minor principal roles were all well performed, with a particularly strong performance by Noel Stringer as General Harrison Howell.
The ensemble cast were also excellent. Powerful chorus work, intelligent reactions, good humour and exuberant dancing all combined in a thoroughly delightful performance.
Conclusion:
If you're a fan of Cole Porter, Lyric Theatre or just great music theatre, this production of "Kiss Me Kate" is well worth seeing. This is almost as good as it gets.
**** (Four stars)
Cuchulainn
"Neither fear nor favour"
cuchulainn@spendsmarter.com
Music and lyrics by Cole Porter
Book by Sam and Bella Spewack
Leongatha Lyric Theatre
Leongatha Memorial Hall
Cnr McCartin and Bear Streets
Leongatha 3953
Director: Peter McAlpine
Musical Director: Larry Hills
Choreographer: Tanya Walker
Designer: Colin Mitchell
July 16, 17, 18, 22, 23, 24, 25, 29, 30, 31
Adults $22, Concessions $18
Credit card payments 10% surcharge
(Book on-line at www.lyrictheatre.net.au)
Lyric Theatre has a long tradition of all-round excellence -- the kind of grounding that's usually found only in communities with a rich cultural heritage, especially in the performing arts. Leongatha, in South Gippsland, is such a community. Its annual eisteddfodd attracts strong representation from the surrounding districts as well as from across the state.
But longevity for a group like Lyric Theatre relies on more than heritage or even sheer ability. It's the result of a prevailing culture of generosity and sharing -- a willingness to find and foster new talent, free from the kind of fear of loss that often infects local cultural groups, leading to jealousy, rivalry and the kind of game-playing that stifles and discourages wider participation or the nurturing of new talent, especially amongst the young, sowing the seeds of those groups' inevitable demise. They slowly dwindle into self-indulgence, irrelevance and recrimination.
Guided by the formidable talent, experience, perceptiveness and maturity of visionaries like Ron and Mary Eagger over more than three decades, a group like Lyric Theatre gains a level of confidence and expectation -- and a reputation amongst its broad and loyal audience -- that intills a standard of excellence that is simply assumed by everyone involved.
I've watched Lyric Theatre, on and off, since the early 1970s and I've never been disappointed by any of the productions I've experienced. Their current production, "Kiss Me Kate", is no exception. I attended, with one of my daughters, on Saturday 24 July 2004.
Our attendance was pure serendipity. We happened to be in Leongatha that afternoon and saw posters for the show. It just so happens that my daughter has a rich cultural heritage and a passion for music theatre of her own, and one of her all-time favourite musicals just happens to be "Kiss Me Kate". So fate played its hand and we stayed on into the evening to catch up on this latest offering by Lyric Theatre.
We were not disappointed, in any respect.
The program features a dedication to the late Dr Ron Eagger on the inside front cover. I was saddened to learn of Ron's passing. But as I sat through the show, watching the cast and orchestra, the audience and my youngest daughter, it struck me that what I was seeing and hearing was a wonderful legacy and a fitting tribute to a man whose enlightened view of the world I had long admired.
The well-designed, 28-page program was a revealing source of interest and information, and a tribute in itself to both the skills of the Lyric team and the support it enjoys from local business. Filling more than 6 pages with advertising takes serious effort and good connections, and means that the cost to patrons is kept to an affordable level. I was impressed.
The next level of engagement with the production was the set, exposed to view as we took our seats. Lyric Theatre performs at the refurbished Leongatha Memorial Hall, located in the civic centre right on the town's main intersection. The hall's proscenium and stage are very small, but the stage area has been extended by use of an apron. Colin Mitchell, Lyric Theatre's long-time production designer, has brought his talent for innovation and acclaimed professional design skills to bear once more, creating a series of imaginative solutions that maintained keen interest and regular surprises. As always, Colin's designs -- both scenery and costumes -- are impressive, and enhance the production without overwhelming the performance. It's a further tribute to the strength of Lyric Theatre that it creates its own wardrobe. This is a company that hires out its costumes rather than hiring them in. Smart.
What I thought was to be the overture turned out to be the opening number. Without ado, we were into the show at a cracking pace that never flagged all night. If there's a single word that sums up this production for me, it has to be exuberance. Director Peter McAlpine has managed to inspire his cast with an enthusiasm that's infectious and irresistible. He's also managed to assemble a cast that is uniformly excellent. Community theatre's great appeal for me is its accessibility for anyone keen to tread the boards. That sometimes means making allowances, in terms of performance standards. Try as I might, however, I can't recall a single character who needed any allowance, even scouring the program's excellent portrait photography.
McAlpine's flair was evident throughout the performance. Creative use of props and scenic elements, supported by Colin Mitchell's superb design and execution, and Tanya Walker's inspired choreography, lifted the production to the point where it was an effort to remain conscious of such details for the purpose of this review. (A highlight for me was the opening number of Act Two, "Too Darn Hot", which featured the entire cast in an exhilarating tap dancing display.)
Which brings me to the orchestra, and Musical Director Larry Hills.
That rich musical heritage I mentioned at the outset is well represented in this ensemble. Despite some early disonance (I couldn't quite identify the source, but I suspect an out-of-tune instrument that was soon corrected), the orchestra -- a relatively small one by Lyric tradition -- featured some outstanding playing, especially by lead trumpet, Glenn Calder. Hills' strong direction was clearly discernible in the strength of the singing and playing. No production sounds this consistently good without inspiring leadership, backed by solid musical ability.
Leongatha is a renowned centre for music in regional Victoria. As I've stated in other reviews, I'm continually impressed by community theatre companies able to draw on deep musical roots like this. (Diamond Valley Singers is another such group.) There's a quality to their solo and ensemble singing that's rarely matched by companies primarily drawn from an acting base. The singing in "Kiss Me Kate" seemd to improve as the evening progressed. Cole Porter's brilliant and timeless music and lyrics were brought to sparkling life that drew instant applause.
Sound and lighting were also excellent. No 'dead' spots, no harshness, no obviously-missed cues. Everyone could be seen and heard clearly. The technical contribution added to the enjoyment of the theatrical experience without the audience being conscious of it -- the hallmark of technical excellence. Scene changes were smooth and unobtrusive or, where obvious, as in the transformations from backstage to on-stage as the production-within-a-production (Shakespeare's "Taming of the Shrew") proceeded, were executed with real interest and flair, adding to the performance, not diminishing it.
The principals are all well-cast and consistent in their individual performances, a further testament to Lyric Theatre's basic strength. Russell Hemming, as Fred Graham/Petruchio, was in fine voice in a wonderfully -- and utterly politically incorrect -- macho performance, slipping effortlessly between the two roles.
Chelsea Lewis as Lilli Vanessi/Kate captures the essence of the prima donna, alternating between icy aloofness and spoilt tantrums as Lilli, then spilling over into the explosive outbursts of fiery temper as Kate the Shrew -- yet skillfully avoiding allowing these characters to run into each other, despite their similarities. We're never in any doubt as to which part she is playing. There's an assurance here that's truly gifted. Lewis has an excellent "Broadway Belter" vocal style that matches her roles beautifully, despite the occasional insecurity in her upper register. She's the perfect foil for Russell Hemmings, and matches his strength of performance at all times.
Tim Edwards as the affable Bill Calhoun/Lucentio sings and acts well in these likeable, lightweight roles. His voice isn't strong, but the sound system takes care of that. His stage presence is an audience-winner.
Alison McIntyre is a natural as Lois Lane/Bianca. Earthy, provocative and extroverted, but with a vulnerability that softens her twin personae, McIntyre delivers brilliantly on the potential of her early performances that were my recollections of her on-stage work. Trim, taut and terrific, she acts, sings and dances with real panache. She endears herself instantly and never drops her characterisations or relinquishes her place in the spotlight for an instant.
David Panther and Glen Turner as the thick thugs are a pair of scene stealers of the most outrageous kind -- and they know it! Turner, in particular, gives such a skillful performance that it's hard to tear your eyes away from him. And their duet "Brush Up Your Shakespeare" -- with multiple hats and encores -- brought the house down on Saturday night.
The minor principal roles were all well performed, with a particularly strong performance by Noel Stringer as General Harrison Howell.
The ensemble cast were also excellent. Powerful chorus work, intelligent reactions, good humour and exuberant dancing all combined in a thoroughly delightful performance.
Conclusion:
If you're a fan of Cole Porter, Lyric Theatre or just great music theatre, this production of "Kiss Me Kate" is well worth seeing. This is almost as good as it gets.
**** (Four stars)
Cuchulainn
"Neither fear nor favour"
cuchulainn@spendsmarter.com
Walter PlingeFri, 20 Aug 2004, 02:41 pm
Re: "Kiss Me Kate" Review by Cuchulainn
I would like to thank Cuchulainn for achnologing the outstanding effort that has gone into the lyric production of "Kiss me, Kate". Being a small town they are not often praised for the wonderful work they achive and are usally not reconised. The number of hours put into this production by Peter McAlpine, Larry Hills, Tanya Walker, Colin Mitchell and expecally Di Boucher is ludicrous and that is why that show was at the level it was at. When you have a dedicated and talented cast and such a creatve direction pannel as well as hundreds of man hours by the crew constructing the set anything is possible and if you saw this production youll see it was.
Nathan Eva
Oh and yes Noel Stringer was the absolute standout his teradactal impressions were supurb!
Nathan Eva
Oh and yes Noel Stringer was the absolute standout his teradactal impressions were supurb!