Battle of the Melbourne musicals
Revivals of two much-loved shows are vying for your holiday dollars this winter. After seeing both productions, James Croot gives his verdict.
THE KING AND I
Inspiration: 1944 novel Anna and the King of Siam by Margaret Landon, which is in turn derived from the memoirs of Anna Leonowens, governess to the children of King Mongkut of Siam in the early 1860s. Location: Princess Theatre (until August 31) Ticket prices: From $80 (NZ$88), thekingandimusical.com.au Aimed at: Despite some risque moments (there’s even a bare bottom), the lavish costumes, upbeat tunes and adorable poppets mean this is suitable for audiences of all ages. That said, the archaic sexist and borderline racist attitudes contained within may mean it will be less popular among those generations used to a more enlightened world. Plot: A strong-willed, widowed schoolteacher, Anna Leonowens, arrives in Bangkok, Siam (Thailand) at the request of the king to tutor his many children. Cultural clashes quickly ensue.
Acting:
Often battling gorgeous if cumbersome costumes, Lisa McCune (TV’s Blue Heelers) shines as the headstrong Anna, more than proving she can ‘‘whistle a happy tune’’ and move with suitable grace and elegance. Former Hollywood star Jason Lee was missing in action the night I attended (and he’s now been replaced with Lou Diamond Phillips) but his understudy, Chris Fung, was a revelation, at turns suitably petulant and powerfully persuasive.
Music and songs:
With a plot that feels like a dry run for their later hit The Sound of Music (and Disney’s Beauty and the Beast), the lack of memorable lyrics or tunes in this near 50-year-old effort is now painfully obvious. Whistle a Happy Tune and Shall We Dance? are highlights, the rest just blend into one.
Choreography:
Plenty of toe-tapping numbers. High-energy abounds and everything looked slick and seamless.
Sets and lighting:
Incense fills the air and glittering gold, regal red and bright orange dominate the palette. An appropriate air of opulence.
Costumes:
Unsurprisingly lavish (especially the king’s wardrobe), while McCune’s corsetry looked painfully accurate. The chorus’s outfits were surprisingly risque but enlivened the spectacle. Overall: A solid and at times spectacular production of what now feels like a supremely dated musical. Likely to be enjoyed more by an older audience, what it lacks in music and lyrics it almost makes up for through sheer spectacle.
LES MISERABLES
Inspiration: Based on the French historical novel by Victor Hugo, first published in 1862. This latest version is influenced by Tom Hooper’s 2012 cinematic vision. Location: Her Majesty’s Theatre (selling until end of October) Ticket prices: From $45, lesmis.com.au Aimed at: The musical is fairly universally loved already but thanks to Hugh Jackman, Anne Hathaway et al in the 2012 movie it has gained an even larger fan base. Could be considered a little too dark for youngsters though. Plot: Ex-convict Jean Valjean attempts to turn his life around while being relentlessly pursued by police inspector Javert.
Acting:
New Zealand-born Hayden Tee adds nuance and subtlety lacking in Rusty Crowe’s filmic take on Javert, while Simon Gleeson is a suitably charismatic and steely Valjean. Other standouts include Patrice Tipoki’s Fantine and Lara Mulcahy’s Madame Thenardier. The whole chorus is impressive, especially 10-year-old Ben Jason-Easton as Gavroche.
Music and songs:
Recalibrated, reorchestrated and revitalised, the score is better than ever. Gone are the synthesisers that gave away the show’s early 1980s origin and the showstopping (in a bad way), annoying Little People song. In their place come more naturalistic, emotional conveyances of feelings through song, while retaining those goosebump-inducing crescendos and harmonies.
Choreography:
The tale’s emotional rollercoaster is reflected in the significant and sometimes sudden shifts in tone from dark drama to bawdy carousing. Master of the House is a triumph of staging and timing.
Sets and lighting:
Replacing the iconic but clunky rotating stage with more flexible options is a masterstroke. Not only does it allow the calculated chaos of a song like Master of the House to be front and centre, it also creates jaw-dropping moments like the scene in Paris’s sewers where you feel like the characters are really underground.
Costumes:
Impressive attention to detail, now splashes of lighter and brighter colours have been added to the ubiquitous blacks, blues and browns. Madame Thenardier’s gravity-defying outfits are the highlight.
Overall:
To paraphrase one of the revolutionary leaders, Grantaire: ‘‘I am agog! I am aghast! . . . It is better than an opera!’’ With its retooling and reimagination this Les Miserables offers a far more vibrant evening’s entertainment. What used to get lost and tonally and thematically muddy in the second act now feels vital and part of the action-packed narrative. Yet it’s still retained its ability to be one of the most heart-breaking and emotional musicals ever.