Posh, Queen Hades Productions, Old Fitz Theatre, 19 Apr-17 May

 Laura Wade's 2010 play is very much of a time and a place - the time is just after the general election that returned the Conservatives to government in Britain, and the place is a small country gastropub, a reasonable distance from Oxford University, where a club of ten young men are gathering for a dinner of extreme indugence - all in their finest coat tails and pin striped pants. It's clear that their club has a long and somewhat debauched history, and it's equally clear that many of the young men are not entirely confident that they can live up to the reputation of that history, though goodness knows they'll try. Various participants are responsible for preparing elements from an indulgent main course to a call girl for entertainment during the evening to cocaine to enjoy during the meal and an after-trip to Rejkavik. But for all their money, these young men's inadequacies are just as apparent and the resentment pushes outside to find whatever fresh victim is available nearby, once they stop picking at each other, leading to a truly horrific event...

This is a study of how the British colonise themselves, from the ruling class down, showing the pettiness and resentments that drive their behaviour into worse and worse territory. Director Margaret Thaons joins a long history of women directors who have tackled this play and does it with style and flair, making sure all 10 men are very different types, from the Bertie Wooster-ish George  (Tristian Black) to the one-upping Dmitri (Anthony Yangoyan) to the camp Hugo (Jack Richardson), the truly arseholish Harry (AJ Evans) and the darkly brooding Alistair (Christian Paul Byers). Nearly all of them are actors I've not seen before and all of them are actors I'm eager to see again as soon as possible - they're all compelling and bring the types to life.

Staging a play of this size in the old Fitz is a miracle of direction, maneuvering a large cast through such a small space dominated by a large dining table. With the audience up close any instance of artifice is instantly detectable and nothing slips for a second. It's a horribly fascinating view up close of those who believe themselves to be the best of the best, behaving as the worst of the worst, and it's essential viewing. 

The Wrong Gods, Belvoir St Theatre and Melbourne theatre Company, Belvoir, 3 May-1 Jun

 Writer S. Shakhtidaran has had a pretty good run with Belvoir, from his debut, "Counting and Cracking" in 2019 (reviewed here) to his follow-up "The Jungle and the Sea" (reviewed here) - both big-scale epics directed by company director Eamon Flack. This time he returns with a smaller scale show (cast of four rather than 16 in the first and 11 in the second), all set in one location rather than the multiple locations of the other two, but thematically it's dense material - starting as something simple and domestic between a mother who wants to keep her daughter in her small village living a traditional lifestyle and the daughter who wants to further her education and opportunities, and building in the second act to bigger questions about the whole village and potentially the nature of human civilisation itself. 

Keerthi Subramanyam's set and costumes are simple but stylish - the set with its deeply etched surfaces, and the costumes setting up the conflicts of the story with the mix of traditional garb and modern business wear. The quartet of Sri Lankan women in the centre of the cast are outstanding - Nadie Kammallaweera as the mother combines warm feelings for her daughter with a strong sense of tradition and connection to her culture, while Radhika Mudaliyar combines the family affection with the engagement with the wider world. Manali Datar lends strong support as someone converted to the village life, while Vaishnavi Suryaprakash presents with compassionate detachment that proves all too risky.

The build of the play could feel forced in other productions - there are points where the stakes get quite astonishingly huge - but somehow in this tight intimate production, it holds strong - while it in some was proves a little diadactic in its clear preference for traditional societies over modern progress (the titular "wrong gods"), it's still asks interesting and difficult questions to handle. 

Bloom, Melbourne Theatre Company and Sydney Theatre Company, Ros Packer Theatre, 29 Mar-11 May

 Tom Gleisner has been on Australian TV screens for around 40 years (if you include his early D-Generation stuff) though he's only previously been involved in writing for the stage with a co-writing credit on Working Dog's 2014 play "The Speechmaker" (which was simulataneously a sell-out hit for Melbourne Theatre Company and something that the production team decided to never take anywhere else). Still, that kind of media profile tends to jump the queue for production, even in genres which the writer isn't really known for. Gleisner's never written a musical before but the form fits him like a glove - a mixture of sentiment and jokes in a very human story of lives in a retirement home. 

He's lucky to have the support of Dean Bryant, who understands the musical form completely - having previously directed "Fun Home" and "Dear Evan Hansen" for STC, he understands how to keep a musical moving and active and visually interesting. In this case, on Dann Barber's set that starts as institutionally bleak and realistic before finding magic places to go later in the show, there's a charming mix of comedy, rhythm, style and humanity in here as we get to know the lives of the residents, the staff and the management over the course of around 105 minutes. 

There are three performances at the center of the show - Slone Sudiro as the viewpoint character, Finn, a somewhat hapless aide brought in as a program for cheap work in exchange for a place to live gives him a millennial charm even as the character is frequently out of his depth; Evlyn Kraape as annoyed recent arrival, Rose, who gives the role a touch of edge, rage and mischevous charm; and Christie Whelan Browne as the retirement home Mrs MacIntyre who is brilliantly dislikably condescending, her solo number "Everything I Do" a particualr highlight as she stomps across the stage in tight skirt and high heels, imperious as always. Elsehere in the cast Vidya Makan and Christine O'Neill are a fine pair of nurses showing their experience, John Waters and Jackie Rees sell a sweet late--in-life romantic subplot, Maria Mercedes and John O'May are basically both given one-joke characters but sell their one joke well, and Eddie Muliaumaseali'i plays four different roles without ever losing the distinction between them. 

Katie Weston's score has a nicely bouncy style, though little really hangs around in the memory afterwards, it's more stuff that works in the moment. The main reason the show seems to be a musical is to allow a looser sense of reality to get into the plot and to let the characters more distinctly declare their desires in a tune rather than a speech - and that's enough of a reason. If this isn't the Great Australian Musical, it's the Perfectly Acceptable Australian Musical that people should enjoy. 

Blithe Spirit, Canberra Rep, 1-17 May

 "Blithe Spirit" is what is known as a warhorse - a comedy that has a broad popular appeal that attracts an audience and can reliably be seen as an appealing night out. I've reviewed it twice in the last decade-and-a-bit - once at Rep in 2014 and once by the Sydney Theatre Company in 2022. Coward's comedy about love-after-death-turning-into-the-same-petty-squabbles-after-death, with its rich range of characters and a plot that twists and turns thoroughly delightfully, holds up as a good night's entertainment.

In Lachlan Houen's production, it's also served by a strong cast of imposing personalities and some directorial ideas that make sure a 1940s comedy feels entirely at home here-and-now - from building focus on the maid Edith (playd by Liv Boddington with an enthusiastic glee and energy), to introducing more contemporary music into the mix. Two of the cast are back from Rep's 2014 go, but Elaine Noon has upgraded from the small role of Mrs Bradman to the substantial one of the medium-with-the-most, Madame Arcarti - she takes full advantage of Suzan Cooper's spectacularly eccentric costume to wheel around the stage delivering stenorian chants, gesticulate mysteriously, and otherwise natter endearingly as a thouroughly delightful eccentric. Peter Holland has returned to the central male role of Charles, but it feels like he's given the role a bit more manic energy and genuine emotional warmth between him and his ghostly ex-wife Elvira in between the more bitter banter. Winsome Ogilvie as Elvira has a sly glamour and charm with a wicked edge underneath that makes sure we're always guessing what her true motives are. Alex McPherson as second-wife-Ruth embodies the rising frustration as her husband's focus is split between her and a rival she can't see or hear. John Stead gives Dr Bradman a nice level of compassion and warmth, and Antonia Kitzel's Mrs Bradman enjoys her gossipy socialising while dropping huge chunks of exposition.  

Andrew Kay and Michael Sparks' set is highlghted by an art deco curve in the centre and creates a good set of spaces for the actors to play in, and Leanne Galloway's lighting moves from charming post-dinner conversation to spooky seance iwth aplomb and Marlene Claudine Radice's sound design makes sure all the spooky noises are suitably spooky. 

In short this is a war horse that engages in battle and rides well - showing off a few new tricks into the bargain. Funny, stylish and enjoyable. 

Sweet Charity, Free Rain, The Q, 29 Apr-18 May

 Free Rain's latest production is a retro delight, taking a 1966 musical that I'd previously been convinced was locked into it's old era (see my review of the 2015 Hayes Theatre company tour here) in a production that's stylish, clever and both a tribute to Bob Fosse's original choreography and prodeuction concept and a bright vehicle for new-to-Canberra-Stages Amy Orman. The show was originally a vehicle for Fosse's muse and wife, Gwen Verdon, and Orman is stage centre for 90% of the action, and absolutely owns the stage with confidence, charm and adorability - you take her to your heart in the first five minutes and never lose interest in her for the next two and a half hours of stage time.

The show itself is still the 1960's adaptation of Fellini's film "Nights of Cabiria" using the American phenomenon of taxi-dancers as a substitute for Fellini's prostitute, with a plot that is more a series of incidents in Charity's life rather than a developing narrative - but here, it's staged abstractly on Chris Zuber's set of abstract wire frames and see-through backdrops (with the orchestra visible behind), allowing the set to be cleared easily so the dance scenes can take over the stage whenvver required. A large chorus serves as both background, stage crew and occasionally furniture, as well as assembling for group numbers like "Big Spender", "Rich Man's Frug", "Rhythm of Life" and "I'm a Brass Band", but our focus is always on Charity's gentle, emotive reactions to the events that happen to her. The secret weapon of the show is Dorothy Field's sharp, slangy lyrics - sitting perfectly on the music while giving insight into character, always funny, fresh and surprising. 

Teaming with Orman is a talented supporting cast - Vanessa Valois as the cynical, sharp and yet gently loving Nickie, Kristy Griffin as the equally sharp Helene, Alissa Pearson as the Fandango Ballroom's gruff-but-with-a-soft-side chief Herman, Joshua Kirk as the neurotic-but-loveable-up-until-the-last-scene-Oscar, Eamon McCaughan as the haughty-but-goofy lounge lizard celebrity Vittorio Vidal and Kate Lis as the fantastically groovy Daddy Brubeck.

Joel Horwood keeps the show flowing, incorporating scene shifts around Charity, never letting the tone dip into depressing and even wrangling with the show's notoriously tricky ending tone with speed and vigour to wrap things up on a not-too-down note. Callum Tolhurst-Close brings together cast and orchestra to create great versions of iconic songs, and choreographer James Tolhurst-Close captures the Fosse essence in his chorus with tight, spectacular performances of dances both across the cast ("Rich Man's Frug") and tight trios ("There's Gotta Be Something Better than This"). Fiona Leach's  costumes are a rich mix of outfits from the elite black-and-white of the club Pompeii crowd to the sprawling colours of the Rhythm of Life church. 

This is a fun, fresh vehicle that serves an iconic score and a well known show with charm, wit, spectacle and generous dollops of emotion. It's a great, sophisticated, clever night out. 

Are You Lonesome Tonight, The Q and Opera Queensland, The B, 15 Apr (and subsequent performances in Griffith, Gouburn, Bathurst, Cessnock, Wagga Wagga, Coffs Harbour, Port Macquarie, Casino, Tamworth, Roma, Winton, Longreach, Balcardine, Blackall, Gympie, Gold Coast til May 31st)

 Opera Queensland's touring show is a melding of Opera and Country music, treating both with respect while delivering a potted history lesson and samplings of several of the hits. A talented trio of performers, both on voice and playing guitar, Cello and violin, accompanied by Trevor Jones (fresh from his accompanist/major-general duties on "Pirates of Penzance") present exeprts from "Corronation of Poppea", "Marriage of Figaro", "La Boheme", "Carmen", "La Traviata" and "The Rabbits", alternating with Hank Williams, Dolly Parton, Taylor Swift, Troy Casser-Daley and Slim Dusty, exploring the commanalities and differences of the two forms. 

In some ways this is an "opera for beginners" walk through, a way of presenting work to an audience that may not be familiar with the forms in a comfortable environment - but there's some strong staging in here, from Penny Challen's design and Wesley Bluff's subtle lighting scheme, to director Laura Hansford's variation of presentation from plain concert delivery to creative stage pictures in the "Figaro", "Boheme" and the closing delivery of the title song. All three performers are in fine voice for both - Gabriella Diaz on her cello and in her mixed-opera-country outfits, Jonathan Hickey on Violin and Marcus Corowa on guitar. It's a charming, fun evening, even if it never goes as deep into either genre as aficionados may want, it's a gentle skim across the highlights of the artforms, and a fine, charming evening. 

The Moors, Lexi Sekuless Productions, Mill Theatre at Dairy Road, 26 Mar-12 Apr

 Evoking the 19th century gothic novels of the Bronte sisters (and elements of the lives of them as well), with the dour and moody Yorkshire moors reflecting the inner passions of two sisters, their maid, the recently arrived governess (despite there not being any child to tutor), a mastiff and a moorhen, "The Moors" is a delightfully odd play full of grim corners, surprise twists, rage, literary conciets and lust and plays wonderfully in the intimate Mill Theatre, on Aloma Barnes' set which serves both for indoor scenes and outdoors with a painting scheme that lets the characters blend into nature while their outfits stand out boldly. 

Joel Horwood's production perfectly captures the mood, with each performance attuned to build the atmosphere and tension, as we start to learn who's the predator and who the prey. Andrea Close anchors the play as the foreboding, grim Agatha, grandly imposing in her wide-framed dress. Rachael Hudley as the wannabe-writer, Hudley, is suitably scatterbrained, self-absorbed and easily over-ridden by Agatha. Sarah Nathan-Truesdale as the newly arrived Governess is a bold-but-bewhildered entryway into the narrative, easily steered by the various influences upon her. Steph Roberts as Margery, the maid, does powerful looming and incipient portents of doom to perfection, building a sense of delight in her slow-bulilding vengeance. Chris Zuber and Petronella van Tienen as the Mastiff and the Moorhen provide a somewhat poetic accompaniment to the human plot,  with a sweet romance that turns sour as their natures betray them.

Damien Ashcroft's sound and Stefan Wronski's lighting add to the mood, the tension and the delight of the piece. All in all it's a strangely delightful evening, a play that simultaneously takes the feelings seriously and makes the results of those feelings hilarious in a way that lands between spoof-and-seriousness that means you both enjoy the delights of the Bronte's gothic moods and appreciate the light mocking that it gets.