The Tap Pack, an infectious, swinging, tap-dancing comedy, is set to take the Parramatta Riverside Theatre in Sydney by storm this March with its unique mix of cheek, charm and sophistication.

Inspired by the highly entertaining performances of the original 1960s’ “Rat Pack”, which formed around the great Humphrey Bogart and featured the undeniably cool Frank Sinatra, Dean Martin and Sammy Davis Jnr., The Tap Pack offers old classics with a fresh new twist in a tightly packed one hour show.

Written and choreographed by tap talent Thomas J. Egan, Jordan Pollard and Jesse Rasmussen, the show features five of Australia’s own triple threats, a swingin’ six piece live band and irresistible songs both old and new.

“People tend to forget how amazing live performance is,” says choreographer and performer Thomas J. Egan. “The Tap Pack picks up where the Rat Pack left off, putting high-energy tap dancing alongside witty banter, slick humour, sharp suits and, above all, a great night out. We feel it can reach the young and young-at-heart because it has a timeless charm, yet we bring a fresh, invigorating energy.”

A show inspired by the legends of yesteryear, the idea for the show came about through a casual chat over drinks. “It all started with a conversation at our bar. We started talking and all of us felt passionate towards creating something that inspires us so much. It just so happens that all of us love jazz music, can tap dance and wanted to bring back this style,” shares Jesse Rasmussen.

“From a young age, all of us have had a unique connection to jazz music and we were lucky enough to learn about Frank, Dean and Sammy growing up,” adds Egan. “If anybody has seen or heard the Rat Pack, they were just entertainers. Just like the Rat Pack, we Tap Pack guys have camaraderie from our close friendships through the industry. We wish to harness this into something reminiscent of the legends of the 1960s. We are just totally inspired to pay homage to the classics but overall bring laughter and joy to audiences.”

And now this dream has become a reality. “It’s not easy taking an idea, a dream, from nothing and getting it moving, but we’ve all had great belief in this project and all put such positive energy towards The Tap Pack that it doesn’t really feel like work,” explains Rasmussen. “Working together has been extremely rewarding, we have such respect for each other and we are motivated to making it succeed.”

From classic Rat Pack numbers “Lady is a Tramp” and “Straighten Up and Fly Right”, to Beyonce and Cee Lo Green “swingified”, The Tap Pack promises great music and impressive dancing from some of Australia’s most talented tappers. The five young men behind the show, alongside Director Nigel Turner-Carroll, share international dance and choreographic credits in over 20 live musical theatre productions, motion picture blockbusters, television series and more.

“Having all done a variety of shows, some coming from a similar era as the Rat Pack, we have come to thrive in this style. Working professionally in musical theatre, commercial dance and choreographing for artists gives you great experience to draw from and we will be bringing our unique flavour to it,” Rasmussen elaborates.

To get your tickets visit www.riversideparramatta.com.au. The show runs for three nights only from Thursday, March 21st to Saturday, March 23rd. For more information visit www.form.org.au.

The Basement, Sydney
February 7, 2013

By Kristy Johnson.

Parisian Rendez Vous, by writer and performer Ruby Boukabou and cabaret heartthrob Ben Palumbo, was a delight.

Having returned for a one-off performance on February 7th at Sydney’s premier jazz club, The Basement, audience members were treated to an acrobatic, operatic and tap dancing sensation.

Ruby Boukabou brought her Parisian flair and acting skills to the forefront in the role of Jazmin Baret as she took us on a series of semi-autobiographic, theatrical adventures. The concept was brilliant. It allowed the audience to have an understanding of French culture while simultaneously keeping us amused.

Complimenting her was the multi-talented Ben Palumbo in the role of Monsieur P. It’s quite clear Ben is meant for the stage. He has a certain ease at performing that appears natural and not forced.

Accompanying Boukabou and Palumbo on stage were a talented team of musicians and dancers, with featured solos from international burlesque star Sarina del Fuego and jazz songstress Cathrine Summers. A definite highlight of the night was watching Glenn Wood perform choreography with the Sydney Tap Crew.

Sparkly costumes and French mannerisms tied in with the French theme. A good dose of humour was often a welcome distraction to some of the more serious moments of the performance.

All had an enjoyable night. As the French would say….c’était magnifique!

Photo: Two dancers of Parisian Rendez Vous. Photo by Josh Raymond.

By Kristy Johnson.

His works have the power to instil new ways of thinking about day-to-day issues, and The Yard is no exception. Having won the title of ‘Outstanding Achievement in Youth or Community Dance’ at this year’s Australian Dance Awards, Shaun Parker continues to thrive as a choreographer and storyteller.

Dance Informa caught up with Shaun to find out exactly what was involved in creating his award winning piece, The Yard.

When creating The Yard, did you anticipate the buzz it would receive?

No, not at all! I had no idea where this work would take us. I started working with these teenagers four years ago in a number of high schools across Western Sydney. We had an extensive audition, and from that I selected the performers that really resonated with the project. It started as a series of workshops and classes, and I never imagined it would develop into a full-length work that would tour New South Wales and have a return season in Sydney! It has already had invitations overseas with the intention to work International teenagers into the show. That would simply be amazing!

The Yard tackles important issues like bullying and peer pressure. Would you say a common thread between all of your works is that they allow the audience to think about issues?

Yes. It seems as my work progresses that I notice a common thread emerging in the work. I quite often read the audience feedback we receive about the work, and what seems most apparent from the audience is both their emotional and intellectual connection to the issues presented. The audience comment much about the humanity, the humour and the universality of the work. The audience becomes the voyeur, observing the performers relate to a range of issues found within society, its resultant psychology and the humans found within this societal ecosystem.

The Yard by Shaun Parker and Company. Photo by Heidrun Luhr

Did using a group of teenagers from the Western Suburbs of Sydney work to your advantage, as opposed to using a group of professional dancers?

Absolutely. These teenagers possessed qualities that were unique and raw, and as individuals had developed their own movement style from dancing at school, on the streets and from watching YouTube clips. As groups they had their own take on shuffling, tutting, krumping, jerking, break dancing, locking and popping. The authenticity of these teenagers was vital to the evolution of the work. They ‘live’ the contemporary dance language we were exploring. All of the scenes and concepts in the work emerged from their own stories of what life was like in the schoolyard.

Were there any challenges when choreographing the piece?

Yes. Every creative process presents a myriad of challenges. We were required to harness our powers of logic to timetable and organise 33 teenagers! My producer Olivia Ansell and Captivate director Mark Hopkins worked tirelessly on the practicalities of rehearsals, juggling school exams, family commitments, tour buses, accommodation and general challenges with hormonal teenagers. It was a lot of work, but it was one of the most important and rewarding projects I have ever worked on. To see the personal growth and maturity of the performers over three to four years was incredibly rewarding. To be able to present these teenagers with a real purpose in life, to instil in their minds a new way of thinking, and to inspire creative thinking and personal discipline was very satisfying for us.

What exactly was involved in the workshop component? Did you enjoy that aspect of it?

I always love workshopping. It’s the part of the process where there are no rules. Anything is allowed, so creatively the ideas are flowing thick and fast. We latch onto the ideas that leap out at us, and we take these concepts further through crafting and layering each scene.

For the workshops with The Yard, I spent weeks talking to the teenagers about what had happened at their school. We then converted each of these stories or concepts into scenes and experimented with what movement language we could choose to best extend these thematic elements. As this process developed, new ideas emerged. I asked the students what objects could be found in a schoolyard. A soccer ball, basketball, pogo stick, scooter, table tennis bat and ball, and pom poms were all utilised within the theatrical language and storytelling that was both linear and abstract in nature.

Congratulations to Shaun and the dancers on the success of The Yard! It really is an outstanding achievement in youth and community dance.

Top photo: Shaun Parker by Prue Upton

By Kristy Johnson.

The Addams Family will be making its musical debut this year in Sydney on March 23^rd. The freakishly fun production will feature all the signature characters and stay true to the quirky original theme. In celebration of the news, Dance Informa caught up with Chloe Dallimore and Teagan Wouters who will play the roles of ‘Morticia’ and ‘Wednesday Addams’.

Chloe Dallimore

Congratulations Chloe on landing the role of Morticia Addams! Do you enjoy playing roles in family favourites like Annie and The Addams Family ?
I think the beauty of something like Annie or The Addams Family is that people already know (the story), and they have a sense of what they might expect. They come with that to the theatre, which is terrific, but it also adds pressure as a performer to make sure that the characters that people have loved and grown up with are portrayed as genuinely, and with as much integrity and love as possible. We don’t want people walking away going, “oh that’s not what I imagined”. We want them to feel as if they’re being totally transported into that family or story that they have loved so much. So it’s a big responsibility, whereas with something like Chicago or Sweet Charity it’s a little more of a blank canvas and the audience is not so familiar with the specifics of the show.

When reading reviews of your performances, critics make note of your great comic timing. Have you always considered acting to be one of your great strengths?
I began as a dancer, so that’s the thing that seems to come most naturally for me. Singing was next and then the acting was something I discovered in my late teens. I think comedy depends so much on the other performers around you as well. We’ve all seen comedy sketches where all the performers just gel incredibly well. So I’ve been very lucky in my comedic roles to be cast with other actors who also have brilliant acting instinct. I’ve learnt so much from them and the audience teaches you a lot about acting. You’re always trying to fine-tune the audiences understanding of the character. So acting is something I probably work hardest on when I’m preparing for a role, and I try to be as instinctive as possible.

Speaking of other great actors, how was it working alongside Todd McKenney in Annie?
We’ve had a fantastic time together. Probably the greatest thing about working with him is his ability to bound onto that stage with 300% energy every single night, no matter what kind of day he’s had. You feel that energy next to you and you have to meet it. He’s also wonderful at talking constantly about how we can improve something. He’s very open and very generous, so I think it’s been a very successful and wonderful working partnership.

How do you ensure you’re in peak condition during performance season? Do you try and fit in dance classes here and there?
The difficulty I have is that I move around so much that it’s very hard to commit to certain dance classes. Another part of my life is Pilates and Xtend Barre. Xtend Barre is a really safe way of working out with all your Pilates principles. It really targets the muscles but protects all the joints so you can keep your body safe and still challenge it to its maximum. Not only am I teaching it, but I also put myself through my own Pilates and Xtend Barre practice every day. I find that it offers me the opportunity at this stage in my life to strengthen and keep my body strong, toned and flexible, without fatiguing myself before the eight shows a week.

Chloe is currently teaching Xtend Barre classes at Emergy Pilates Lounge in Sydney. Visit www.emergypilates.com.au

Teagan Wouters

Congratulations Teagan on securing the role of ‘Wednesday Addams’! How excited are you to be part of this production?
I’m so excited! I can’t wait for it to start quite frankly! I’m thrilled.

Can you tell us about the audition process?
I initially auditioned in December [2011] for the musical director and the casting agent. That was my first audition and then I got a call back a couple of months later to audition with the American creative. It was a really fast audition! I worked with them for maybe 20 minutes or so. It was a really simple process, which was good. I wouldn’t say it wasn’t hard though. I had to prepare two songs from the show and sing those, and there were about four scenes from the show that I also had to do.

Do you think your study in musical theatre at the Victorian College of the Arts prepared you well for this role?
Absolutely! I think any sort of study that is about the theatre is going to help you with auditions, researching roles, and all that kind of thing. I’m definitely very grateful for my training at the VCA.

When do rehearsals begin?
We haven’t started yet. We don’t start rehearsing until the end of January.

Have you met the rest of the cast yet?
I’ve met a couple of them at the launch. I’ve met Chloe Dallimore, Meredith O’Reilly and a few others. Everyone’s lovely and I think it’s going to be a really fun cast to work with.

Do you feel any pressure working alongside performers who have been in the industry for a long time?
I don’t think I feel pressure. I think it’s definitely a case of being so excited to work with people of their calibre! I’m sure I will learn a whole heap off them. I’m really excited about it.

Would you say musical theatre is your passion? Are musicals what you would like to continue doing?
Yes, I think so. I studied musical theatre so I think it’s my ultimate passion. I wouldn’t mind getting into TV and film though. I really like the vibe of the live audience; seeing their reactions and the feeling you get from performing live. I do think this is where I will begin and probably end up.

The Addams Family opens at the Capitol Theatre Sydney, March 2013. Tickets available through Ticketmaster. Visit www.ticketmaster.com.au or call 1300 723 038 for bookings. www.addamsfamilythemusical.com.au

WIN A DOUBLE PASS!
Dance Informa has 2 Double Passes to giveaway to the preview performance of The Addams Family at the Capitol Theatre, Sydney on Tuesday March 19.

To Enter: Email info@danceinforma.com with your Name, Date of Birth, Email Address, Postal Address and Phone Number and answer this question: “Who will play Morticia Addams in the Australian production of The Addams Family?”
Entries close Feb 20.

Top photo: The Australian cast of The Addams Family musical. Photo by James Morgan.

By Laura Di Orio.

At the age of 18 months, when most kids are perfecting their walk, Reed Luplau was beginning to dance. His mom ran a dance studio, Jody Marshall Dance Company, in Perth and there Luplau grew up in the studio learning jazz, musical theatre and acrobatics. His dancing allowed him a successful, memorable career in Australia and has since landed him in the United States, where he is now a permanent resident and lives in New York City. But he’s much more than just a dancer now; he also has choreographing, teaching and, most recently, acting, under his belt. And his expectations are still sky high. With his plate of skills forever growing, it is no doubt that Luplau, already a star, is growing brighter and brighter every day. He is a man on a mission, and nothing seems to stop him.

“I pretty much didn’t know any other life than dancing,” said Luplau, who ironically says he didn’t discover ballet until 14 years old when he saw his first classical production, West Australian Ballet’s Coppélia. He said he thought, “What is this? What’s going on? You can be paid to dance?”

This first sprouted more trips to the ballet, where he was also exposed to the company’s more contemporary works by choreographers such as Hans van Manen and Nacho Duato. Luplau was hooked. He decided to seek out a ballet school to train part-time, and then, at the age of 15, was accepted into The Australian Ballet School and packed his bags, left his family behind and moved to Melbourne to train full-time.

Reed Luplau in performance with Lydia Johnson Dance in NYC. Photo by Kokyat

From there, Luplau ventured to Sydney to dance with the Sydney Dance Company under the direction of Graeme Murphy and Janet Vernon. His dance career was beginning to blossom – he was the poster boy during his second year with the company for one of Murphy’s new works, he was nominated for numerous awards and he was often a chosen dancer for outside choreographers.

One of those choreographers was Aszure Barton, a New York-based choreographer who created a work on Luplau and two other company members.

“She really changed a lot of my view of dance in Australia,” Reed recalls. “She kind of pushed my buttons and was like, ‘Reed, do you need to move? What are you doing here? Grow up. You need to come follow me to the States.’”

So, when Luplau was offered another contract with Sydney Dance Company, he turned it down and, in February 2010, moved to New York for good. “Just a hunch,” he says of his decision to move.

Since arriving in New York City, Luplau has danced with Stephen Petronio Company, Aszure Barton and Artists, Lydia Johnson Dance and Compagnie Julie Bour, among others. In September 2011, Luplau joined Lar Lubovitch Dance Company, which, for him, has been extremely rewarding.

“[Lar] is such a legend and he’s a dancemaker. It’s been such an honour to be involved with him, create with him and dance his beautiful work,” Luplau says.

Also in New York City, Luplau works with his agent and books gigs, such as a promo for Teen Nick and a dancing stint for the Lucille Lortel Awards opening night. In this way, he finds life as a dancer in NYC different from the life of a concert or contemporary ballet dancer in Australia.

“The opportunity to be able to do things that come up has been fantastic – the versatility that comes with it,” Luplau says. “It’s not so one-stream. In this city the way you survive is you’ve got to book that job and take whatever you can get.”

Still, as an Australian with an O-1 Visa, there were jobs that Luplau couldn’t go for because of his status. So, rather than renewing his Visa, he made the investment in his career and applied for permanent resident status. It became official in August of this year.

“I didn’t want to reapply for another Visa because I was just going to be doing the same things, and, for me, I need to keep evolving and I need to keep pushing my boundaries,” Luplau says. “That’s why I moved here. I would not have moved out of my home and become the struggling artist, to be honest, if I didn’t believe in it and if I didn’t want to push it. It’s expensive, but it was something I had to do.”

Luplau is convinced it will be worth it. Already he has been to his first Broadway call and did The Last Goodbye workshop, where he met Sonya Tayeh and Alex Timbers, both of whom Luplau says he never thought he would have met in his life.

Reed Luplau. Photo courtesy of Energetiks. www.energetiks.com.au

Then one day, Luplau got a casting call for a feature film, 5 Dances, a predominately dance-focused film directed by Alan Brown. Luplau, who had never read lines before and had never had to portray someone else, went in for the call. A month later he was called back, and after a less-structured, improv-based callback, Brown told him, “I really like you. You can’t act, but we’re going to hire you.”

So Luplau, ever-evolving in his skill set, tried his best. The movie wrapped and is slated to be released in early 2013. It has been rumoured to open the Lincoln Center Dance on Camera Festival on February 1, 2013. By the end of the process, Luplau was so inspired that he sought out an acting school in order to serve his next quest: Broadway.

“It’s doable and I can do it,” Luplau says. “I want to do so much in the short time that we have on this earth, and Broadway is the next thing I want to do, so it’s time to figure out what to do and how to get there.”

With the help of the 5 Dances casting agent and Alan Brown, Luplau found an acting school that would fit in well with his dance schedule, where he has been studying since September.

“It’s a struggle,” Luplau admits, “but it’s something I believe in and it’s something I want to transition into. It’s challenging. I’ve been dancing for so long. Not that I don’t find dance that challenging anymore, but to be able to speak and portray someone else is difficult. I’m only two months in and I’m like, ‘give me more.’”

It is this determination and thirst for more that makes Luplau’s goals seem just an arm stretch away. He understands that the world of Broadway is a competitive and challenging one, but he continues to strive.

“I feel that with all these extra tools that I’m picking up, it’s something that I want to do, and I’m very serious about it,” Luplau ensures. “That’s what I’m focusing on.”

That said, however, Luplau points out that New York City is one that is best lived moment to moment. “I remember I used to have such a clear vision,” Luplau says. “I mean, I have a vision of where I’d like to be, but five years from now I can’t tell you where I’ll be. Not that it sets you up for failure, but sometimes it sets you up for disappointment because it’s just life. Life just changes like that. This city and the way that everything is, you have to live day by day. Or check by check.”

But no matter where Luplau may be one year from now, one month from now or one week from now, it is sure that he will still be pushing his boundaries.

For more on Reed Luplau, head to his website at www.reedluplau.com

Top photo of Reed features fashion by Energetiks dancewear. www.energetiks.com.au

Capitol Theatre Sydney
Saturday November 17 2012

By Kristy Johnson.

There was no denying that the show went off with a bang at Capitol Theatre Sydney, on Saturday 17^th November. Chitty Chitty Bang Bang was the perfect family musical that had the entire audience clapping along.

Based on the 1968 film of the same name, the car was definitely the star of the show. Flying through the air, it garnered gasps from both children and adults in the theatre. At first, it seemed there were a few small malfunctions with getting the car into the air, however being the first night of the show, a small mishap could be expected.

An all Australian cast did their best on stage, with standout performances from David Hobson in the role of the eccentric inventor ‘Caractacus Potts’ and Rachael Beck as ‘Truly Scrumptious.’

I wasn’t surprised to see live dogs bound on to the stage. For family musicals, live animals are a definite crowd pleaser and director Rodger Hodgman did a fantastic job in keeping the children entertained.

One of the downsides of the show was the dancing. The choreography seemed to lack a bit of ‘oomph.’ At times it felt like I was watching dance routines at an eisteddfod. However, what seemed to hold the dancers together were the great costumes and set that tied in well with the whole story.

The performance did feel quite lengthy as well. Towards the end of the second half, I was feeling edgy and ready to get up.

However, with all that being said, I did leave the theatre feeling happily entertained. I wasn’t the only one, with the cast receiving a standing ovation. If you’re after a light-hearted fun musical for the family, then Chitty Chitty Bang Bang ticks all the right boxes.

For tickets visit ticketmaster.com.au.

Photo: Chitty flying by  Kurt Sneddon.

After high praise overseas, Legally Blonde The Musical is heading to Aussie shores this October. A stellar cast including Lucy Durack in the role of ‘Elle Woods’ and Rob Mills as ‘Warner’, will be taken through rehearsals under the direction of Broadway director and choreographer Jerry Mitchell.

Here, Dance Informa chats with Jerry prior to rehearsals on the intense training regime required, and why audience members never fail to fall in love with ‘Elle Woods’.

How intense will the rehearsals be for the Australian production?

I’m going to be meeting some of the principals later in the week but I’ve got to adjust and get myself ready for the gruelling time ahead (laughs). There are five weeks of rehearsals and two weeks of full previews before it opens. We start each day with one hour of jump rope. There’s a jump rope number that opens the second act of the show, so everyone in the show has to learn how to actually jump rope and sing, and it’s tricky!

Legally Blonde The Musical has been a hit overseas. Why do you think people are so drawn to the storyline?

Well first of all, I think if you’ve seen the movie or if you haven’t seen the movie, it doesn’t really matter. The character of ‘Elle Woods’ is an underdog and she’s larger than life. Everybody loves an underdog. She goes on this journey and she discovers who she really is and finds the right path for herself in the end. It has all these fantastic elements of a musical.

The cast for the Australian production looks amazing. Were you familiar with most of their work?

Well I’ve met Lucy (Durack) before in London. She came and auditioned for me while I was there, and then David (Harris) played ‘Malcolm’ for me in The Full Monty years ago. The rest of them I’ve auditioned, but I haven’t met them yet. They’re all quite spectacular.

Lucy Durack as 'Elle Woods' in Legally Blonde The Musical

What stood out from Lucy’s performance when she was auditioning?

You know when you meet a character as beautiful as ‘Elle’. She comes from a wealthy family in the play, so you think “well what’s wrong with her”? And then her boyfriend ‘Warner’ breaks up with her and I think there’s a lot of people that can relate to being dumped (laughs). Everybody’s gone through a breakup at some point in their life right? So I think what I was looking for, what I always search for, is someone who has that vulnerability to let us in on what she’s really thinking. Lucy’s truly a wonderful actress. You can connect with her right away because she seems really honest. So honesty and vulnerability are the qualities that really add to the job, besides being beautiful and being able to sing and dance (laughs) – that’s a given.

Did you plan on making the Australian version quite different?

Well the show will remain the same as far as the scenery and blocking. But I never ask a cast to repeat what some other actor has done, so part of this discovery in the rehearsal will be allowing them to bring their natural qualities to the roles. I think that’s what always makes a musical fresh because the cast becomes absorbed in the story, and we have a cast on stage that are invested in the story. The audience gets so much more out of it.

Your career-to-date is simply amazing. What’s next for you once Legally Blonde wraps up?

Well, actually the exact same day we begin rehearsals here, my next Broadway show has rehearsals in New York City. I will miss the first week so the cast in New York is going to be learning all of their music and working on their British accent for a musical called Kinky Boots, based on the British film that was made and has scores by Cyndi Lauper. We’ve been workshopping the show and it’s become quite good. Productions for the show will open in spring of next year.

Legally Blonde The Musical opens at Sydney Lyric Theatre, The Star, on Thursday 4^th October 2012. For bookings call 1300 795 267 or visit ticketmaster.com.au .

WIN A DOUBLE PASS!
Dance Informa has double passes to giveaway to Legally Blonde.
Email info@danceinforma.com with your Name, State, Email Address and Phone Number and answer this question: “Who is the Choreographer of Legally Blonde The Musical?”

www.legallyblonde.com.au
facebook.com/legallyblondemusical

Capitol Theatre, Sydney
March 2011 

By Jessica Innes

After it’s mind-blowing debut 17 years ago, Riverdance has stood the test of time and it’s exuberant performers continue to boast an inexorable spring in their step! Starting out as an interval act at the 1994 Eurovision Song Contest, the relatively unchanged show has become an iconic representation of Irish culture and a worldwide phenomenon. Australian audiences can now embark on a joyous and whimsical journey to the other side of the world as Riverdance brings with it Ireland’s most talented dancers as well as performers from Spain, Great Britain and the USA.

The Gaelic lyrics ‘Rí rá agus ruaille buaille’ can be translated to ‘noise and commotion’, which serves as a forewarning to the thunderous machine gun footwork that the Riverdance ensemble unleashes on the crowd. With incredible precision, the dancers open the show dressed in sparkling emerald green in ‘Reel Around the Sun’. The celebratory opening number sets the tone for the rest of the show and highlights the importance of nature in the retelling of the historic story of the Irish migration to America.

Interwoven between the frenzied footwork, the Riverdance Band keeps the energy up with equally vibrant performances using traditional instruments including the fiddle, saxophone, Uilleann pipes and drums. In contrast, the vocal work of the Riverdance Singers echoes throughout Sydney’s Capitol theatre with a purity and fragility that is hauntingly beautiful.

Although there are four different styles of Irish dance, Riverdance has made hard shoe Irish step dancing famous as it’s primary style. Drawing attention to their precise footwork, the dancers’ arms remain firmly by their sides, heeding to ancient Catholic attitudes where the dancers can’t interact with one another. However, Riverdance proves that it is anything but outdated with it’s flirtatious young lead, Padriac Moyles, tantalizing the audience with his expressive performances. The juxtaposition between new and old was brilliantly showcased in Scene Twelve ‘Harbour of the New World’ as the male Step Dancers competed in a “tap off” against the effortlessly cool Riverdance Tappers. The audience cries of disbelief at the sheer intricacy and speed of Moyle’s footwork showed us why Riverdance has so successfully sky-rocketed Irish dance’s popularity and its relevance in today’s society. Moyle vocalized his joy of dance by whooping and laughing as he performed and displayed star quality as he follows in the (very fast) footsteps of Michael Flatley, who still holds the world record for achieving 28 taps per second.

Broadening it’s horizons, the show also displays two smouldering performances by Spain’s Rocio Montoya. The Flamenco dancer overtly breaks the rules regarding on stage fraternization, displaying a strong feminine prowess as she stamps around five male dancers and herds them around the stage.

As the moon rises on the final dance number the dancers portray elfin characteristics with their long hair, floaty costumes and incredible agility as if inspired by a J.R. Tolkein novel. Riverdance embraces the fantasy of Irish folklore and the themes of magic and nature interlaced throughout the entire show will enthrall adults and children alike. Moving in perfect unison, the performers continued dancing well after their bows and showed no sign of fatigue; instead they beamed with satisfaction and pride. This tenacity is what has enchanted audiences for the past 17 years and is what makes Riverdance the timeless masterpiece it is today.

Photo: Jack Hartin, Copyright Abhann Productions

Theatre Royal, Sydney
September 2010

By Nicole Saleh.

There was a sense of excitement and anticipation at the opening night of Jersey Boys at Sydney’s Theatre Royal. Could a musical that has won so many prestigious awards; a Laurence Olivier, a Grammy, multiple Tony Awards and a Helpmann Award for ‘Best Musical’, really live up to the high expectations of Sydney’s opening night crowd? Measured by the standing ovation received from the first to the last row in the theatre, the answer is a resounding yes!

Set in the 1960’s, Jersey Boys tells the story behind the phenomenal musical quartet Frankie Valli and The Four Seasons. We follow the lives of four boys from Jersey; Tommy De Vito (Scott Johnson), Bob Gaudio (Stephen Mahy), Nick Massi (Glaston Toft) and Frankie Valli (Bobby Fox) on their rise to becoming one of America’s most famous pop sensations. The show is structured into four seasons; spring, summer, fall and winter, with each actor taking their turn to narrate. We hear their individual perspectives on the series of events that brought them together and witness their struggles to ‘make it big’ in the music world. We experience the tragedy of addiction, jealously and cheating at the height of their careers, which ultimately led to self destruction.

It’s the rich and dynamic storyline combined with almost two decades of hit songs that makes this musical a success. Even if you weren’t born in the 1960’s, you surely would have come across some of their catchy jukebox hits including “Big Girls Don’t Cry”, “Sherry”, “Walk Like a Man”, “My Boyfriends Back”, “Who Loves You” and “Oh, What a Night”. Leading the sweet smooth harmonies is Bobby Fox, who provides an extraordinary performance in the role of Frankie Valli, hitting the high falsetto notes with ease. It is hard to fault any of the four lead actors who give an outstanding performance showcasing their exceptional acting and vocal skills.

Sergio Trujillo, the original Broadway choreographer, complemented the sensational music with simplistic yet effective choreography. This is executed with sharp precision, with all four actors never missing a beat. The production is well staged with the use of big screens bringing to life the changes in seasons. At one point the screens project footage of the group performing, creating the perspective that the audience is watching black and white footage of their performance on a television show; a very engaging and creative use of set design.

It’s easy to see why Jersey Boys is an international hit. Its recipe for success includes: a dynamic storyline based on a true story, exceptional singing, talented actors, precision dance movements and brilliant music that together makes for a highly entertaining show!

To find out more about this musical visit www.jerseyboysaustralia.com.au

ONE OF THE MOST ACCLAIMED MUSICALS OF ALL TIME WILL TOUR NATIONALLY NEXT YEAR AND THE SEARCH BEGINS FOR AUSTRALIA’S BEST.

Who will play Tony and Maria? Who can dance the Sharks and the Jets?

First Auditions:
Tuesday December 1st at 10.15am
Sydney Dance Company Studios, Pier 4/5, Hickson Road, Millers Point

These are closed auditions, so please speak with your agent.

Director Joey McKneely, who was personally chosen by Jerome Robbins to reproduce his original choreography for West Side Story will be in attendance.

Packed with unforgettable songs, including Maria, Tonight, Somewhere, America and I Feel Pretty, West Side Story remains a theatrical landmark.  The film version went on to win an incredible ten Academy Awards (including Best Picture) and further cemented the reputation of this undoubted masterpiece.

Based on Shakespeare’s Romeo and Juliet, two young people meet, fall in love and pledge their eternal loyalty to one another.  Their different backgrounds ensure they are denied a happy future because of the intolerance and hatred of two antagonistic cultures.  Fate leads the star-crossed lovers into a tragedy of heartbreaking proportions.

After wild acclaim in London, Tokyo, Paris and Beijing, McKneely’s vibrant new stage production arrives in Australia.  On Broadway McKneely has substantial directing and choreography credits for which he has won a number of awards and been nominated for two Tony Awards.

 For more information visit www.westsidestorythemusical.com.au