This rework of the 2010 Fringe show of the same name enjoys the benefit of a simply perfect setting of the lawns before the entrance to Carclew House in North Adelaide. Well, at least, visually, for being under the airport flight path and a couple of hundred metres from Adelaide’s rowdiest bells ushering in evensong does create its own problems but they in no derogated from this performance.

Cheryl Bradley, an actor from the 2010 show at the Adelaide House of Flowers, now directs Anna Cheney and Tim Overton with assistance from Sara Lange (and Matthew Gregan on guitar) as they work their way through the bard’s various soliloquies, stand-offs and set-upons on the topic of love, not only as excerpts from his works but on the topic generally of ‘what is love.’ Both actors do an admirable job, delivering passion and humour when required in equally successful measure, with the Romeo and Juliet balcony scene a highlight.

Being in the open air, with an audience spread out on chairs and bean bags, has its own logistical difficulties and at times there were sound problems arising. Whether the somewhat mundane dress of all players was a plus is debatable (though it is acknowledged the play is not meant as a greatest hits show) not that Ms Cheney was anything other than delightful in whatever role she was portraying.

These sorts of summer nights are the ones we long for when winter hits and simply the ambience and subject matter should attract all many of arts lovers during this season to the top of Montefiore Hill. It is an adorable hour where sunset only ushers in yet greater pleasure.

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Megan Doherty is the latest performer brought to the stage by Kate Warren’s newly formed The Factory (no doubt with apologies to Warhol, A.) The 28 year old recent graduate in musical theatre from Ballarat chose the topics of loneliness, lust and yearning to underpin her show entitled The Girl Who Won’t Grow Up, a repertoire that had Weimar cabaret strains to it without going for the whole Marlene Dietrich persona.

6pm on a Sunday evening is not usually the best time to collect a crowd but La Boheme was sold out for this last night and certainly it was keen to be swept along by Megan’s solid voice and shtick. After a slow start, her Disney song proved to be a highlight followed up not long after by Coin Operated Boy, all the while ably accompanied on piano by Daniel Brunner.

There is no doubt that Doherty has potential but more experience is needed to lift her to the fore front of similar acts in Adelaide (where queens of the genre like Sidonie Henbest presently reign.) More imaginative lighting, less use of the microphone (a perennial bug bear for this critic when attending at such a small venue as La Boheme) and a breaking down of what seemed like a glass partition between her and her audience members – more intimacy with her patrons gets rewarded – are all elements to be worked on.

But, to be sure, Megan Doherty is a talent worth following and one who will consistently entertain as she refines her performances.

Kryztoff Rating  3K

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From afar great success often seems so effortless and obvious but when the stories involved get told things often are more complicated and the joys of success can seem more legitimate, more earned.

The story of Franki Valli and his three mates, who together became the Four Seasons and for this production, The Jersey Boys is another where serendipity plays a large role but an abundance of talent, at least for a couple of the quartet, sits at the core of the phenomenon. Three hungry, randy teenagers spy greatness and girls through the end of a microphone and happen upon a great song writing talent (in Bob Gaudio) that can deliver on the vision.

Their years together, making it and breaking it and prevailing (at least for Valli and Gaudio) have all the elements of a great story. The music they created, like few other groups that started when they did, has survived now two whole generations and seems likely to comfortably make it through another.

The Jersey Boys production is as good a modern musical as you will see. As mentioned, the story is excellent, bolstered by its authenticity, but it is the music that separates this from its peers – it seems impossible now that one could compare A Chorus Line to this in regards to quality and entertainment. Hit after hit, melodies to get your feet tapping, hands clapping and mind wondering back into one’s past just keep coming.

No expense and element of professionalism is spared in this production with live music, quality singing and acting and a staging that seems infinitely flexible. So good were the performances of Valli and Gaudio by Jeff Madden and Bob Declan respectively that one almost believed they were their characters brought back from 50 years ago.

Anyone who is a fan of Four Seasons music or musical theatre would be a fool to miss out on The Jersey Boys – simply this is a theatrical highlight of this year and for a great many others as well.

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The story of Cambodia is not a happy one; a peaceful agrarian society drawn into the Vietnam War by US bombing in pursuit of an enemy they never defeated that unleashed in 1975 four appalling years of the Pol Pot regime. Even more than 30 years on, things are not much recovering even if the invaders and the despots are gone.

The Sunrise Villages run by Geraldine Cox are orphanages (near Phnom Penh) acting as oases and hopefully staging grounds for the young generations of Cambodia to pursue meaningful, productive and educated lives. Of course, their work can affect only the lucky few, even if they arrive there devoid of life’s fortune.

Cambodia Sun Rising endeavours to tell this whole story through a mostly child ensemble, from the classical, traditional and ordered world of the Kampuchea ancient civilisation through to the modern day realities of street kids and westernised culture. From Apsara dances to hip hop and folk tunes to western beats, the performers are complimented by video stories from some of them of their lives to date and their aspirations.

The scenes depicting the Pol Pot regime from Year Zero are most effective, leaving none without a sense of the losses – cultural as well as human – without over reaching.

The performance ends metaphorically as well as dramatically with a plead to us, the audience, about what we can to assist these children and so many more like them as well as the country as a whole. Whereas, the major charities tend to tug ever so hard on the heart strings in the 30 seconds of the time they may capture your attention, directors Cate Fowler and Ninian Donald allow these feelings to develop much more intrinsically, naturally and thus more convincingly. The message is neither one of despair nor inevitable triumph, but a measured view of the rights children should have to a safe upbringing and the opportunity to prepare themselves for adulthood (that is, those we consider our own to possess) in a country that lost everything and is trying to rebuild in a world that preys on the weak.

The dancing, singing and musicianship are all finely executed, many of the 30 or so kids’ personalities become known to us without creating stars and the pacing of the performing and the story is all craftily handled.

Jacinta Thompson and her OzAsia Festival and others who supported making this show happen this year all need to be congratulated and one hopes this ‘world premiere’ leads to other countries embracing this very modern story of youth, hope and sadly still unresolved tragedy in their theatres as well.

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Shakespeare’s Globe is releasing three of its theatre productions to cinemas.
The Globe on Screen season launches globally this autumn and includes All’s Well That Ends Well, Much Ado About Nothing, and Doctor Faustus. Originally staged at Shakespeare’s Globe in 2011, the three productions are shown in their entirety on screens in hundreds of local cinemas. Offering a truly distinctive cinema experience and the very best seat in the house, this season is a wonderful opportunity to enjoy the unique charm of the world famous Globe Theatre and these critically acclaimed performances.

Globe on Screen harnesses the magic that draws people to the home of Shakespeare year after year. The three titles in this limited season give cinema audiences around the world a thrilling, up-close experience of the Globe from the comfort of their seat.

The Regal Theatre, Kensington Park and the Trak Cinemas, Toorak Gardens

will play host to these very special performances, not to be missed, so book now!

Alls Well That Ends Well –Sun Sept 30 2pm @ The Trak Cinema

Much Ado about Nothing – Sat Oct 13 @7pm @ The Regal Theatre

Dr Faustus – Sat Oct 27 @ 4pm @ The Regal Theatre

Website: www.globeonscreen.com

Bookings Now Open! Please contact: the box office @

The Regal Theatre, Kensington Park 8431 5039

& Trak Cinema 8332 8020

www.trakcinema.com.au

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