Strip

I played rock music once, but it was earlier than the '80s. Rock of Ages was a musical about '80s rock, the perennial mystique of sex and drugs and rock and roll. I watched people laughing with gusto and wondered if they watch daytime TV and listen to classic rock radio. Suffice to say it's not my scene, but you know what, I enjoyed it in the end. It's set in Sunset Strip, LA, a high-life slice of Sunset Boulevard. We drove along it once. During the day. We stayed just out back of Hollywood Bld. Ugly but with stars and red carpet when we drove out in the taxi. All strange, this world. The rock world, too, has its own ugliness and authenticity. It's not a place for feminism, at least given the skint costumes on the dancing girls against the daggy jeans on the blokes. Probably always thus. The skint costumes covered for the strip club as well as the dance floor, so apt, I guess. The band was 2xguitar, keys, drums, bass, conductor (? ... but this is musical theatre). The story was of a long-term dive threatened by developers against one main and several ancillary love stories. Jokes of drugs and knockers and the rest. It works out in the end after various misunderstandings. The strip is saved; the nice girl eventually gets with the nice guy after she's spent time in the strip club; the nice guy fails at rock but wins in love; the narcissist rock god is on the run from police over sex with a 16 year old; the developer father makes up with the gawky son. It was a Broadway hit (what, 16th longest run, or something of the sort). And the music. Lots of rock from the late '80s. I recognised some, not least We built this city on Rock and Roll, which is an attractive and ear-worming melody. I checked it out later on YouTube and it's all ridiculously young faces, but this era was just that. There were lots of songs that meant nothing to me. But you know, for all that, I came out having enjoyed it all. The performers were not Broadway, but this isn't Broadway and they were genuinely impressive. This is local, non-professional theatre, after all. I admired the voices; the dancers and the staging were great; the music was just what it was, but that's what guitar rock is and they did it well. But most of all, I enjoyed the open smiles at the end when the cast drops their characters and relaxes for the curtain calls. Suddenly these were community and I could feel for their satisfaction in completing another energetic 2.5 hour marathon performance and I felt it with them. I'm not one who knows or warms to this era, but I could admire the effort and skills involved and enjoy it with them and I did. This is the Canberra Philharmonic Society, also known as Philo, the long-established local musical theatre company, and they did a great job. Many congrats to all.

The Canberra Philharmonic Society presented Rock of Ages. The principals were Dave Smith (Drew), Emma McCormack (Sherrie), Tim Stiles (Lonny), Ian Croker (Dennis Dupree), Will Huang (Stacee Jaxx), Shell Tully (Justice), Berin Denham (Hertz Klinemann), Hayden Crosweller (Franz Klinemann), Anita Davenport (Regina), Pat Gallagher (Mayor), Andrew Haese (Ja'Keith), Max Gambale (Joey Primo) and an ensemble of about 20. Production by Jim McMullen (Director), Max Gambale (Music director) and Rachel Thornton (Choreographer).

Image used with permission of Canberra Philharmonic Society. Photo: Pat Gallagher. Nice pic!

Loving to death

Camille Paglia listed the Star Wars saga as one of 100 key works of Western art*. I prefer to include West Side Story. We saw Free Rein Theatre Company performing WSS last night at the Q Theatre and it was sensational. Remember, this is a semi-professional company, so its show was pulled together from a range of skills from schoolkids up. And schoolkids is appropriate. WSS is an undated Romeo & Juliet, and the central characters are kids. Who else can love so strongly? But what a story of tragedy, of slips and errors, of social conditions and misunderstandings and at the end, perhaps of hope for a better future. All accompanied by the hugely infectious music of Bernstein. Not for nothing that this work is so loved. I have a copy of the red sleeved LP and it’s played to death so the words are inpinged on my mind. I feel every musical line from the first dots of the overture. I know most of the spoken lines, too. So I was a bit surprised to find a few unexpected segments: a strangely unrecognised musical intro to one tune (was it I feel pretty?); a repeat of the rumble death scene and a dance scene in red and black that I couldn’t place; only girls singing America. That’s perhaps the difference between the stage and film versions. I’ve read of a few scene changes from Broadway to film.

But what of this performance? I could not believe the effectiveness and joy of the dancing. They had limited space on stage but this was hugely vibrant and capable. Plenty of angled ankles displayed extensive training. Similarly the fun and details, like Maria’s three mates, Rosalia, Consuela and Francisca, in the I feel pretty scene. The love was believable and the tragedy was deeply felt, accepting the fantasy of theatre; the confusion and cock-sure offense of the kids was willing. The two gangs, the Jets and Sharks, were effective, although I have to give it to the Sharks for dignity and presentation: latins just have sexier moves than us whites. The voices were stunning at times, well in tune, powerful and wonderfully amplified and true to the original, even if some high notes were a struggle. I loved the operatic counterpoint of a few scenes, although I preferred the street, pop voices to operatic styles. This is art of the streets and the purity of opera voices seems out of place (I disliked the concert version by Kiri Te Kanawa and Jose Carreras although it’s conducted by Berstein himself, but loved the quirky Songs of West Side Story with artists including Chick Corea, Patte LaBelle, Steve Vai, Aretha Franklin, Brian Setzer and Little Richard singing I feel pretty). Soprano Maria is young, even if wise in love, so actually less interesting to me than alto, Anita, the older, worldier girlfrend of Maria’s brother. It’s Anita who learns from the purity of Maria, but it’s Anita who lives in the world. She’s the one who leads the Sharks girls in singing for America. What a great scene. As was Gee Officer Krupke, that witty play on justice and delinquency. There were so many good voices, but I have to mention the guys, lover Tony, Jets Riff and Action and Shark Bernardo. They were outstanding. Anita was a blast, too. Maria was just lovely in her too-early lost innocence. Plenty of great dancers but Anybody’s, the tomboy hanger-on to the Jets, was prominent and boyish, and sometimes even dignified when out of role for a bit. Feminists might not like her suddenly womanly as she walks Maria out at the end (Tony: “you’re a girl, act like a girl”). As for the music, this is Bernstein. It’s busy and balladic, frantic and occasionally floating, melodious and dissonant, syncopated and presumably hell to read, fabulously orchestrated. It has melodies that cut to your heart and energy that has you out of your seat. Which brings me to the musicians. This was an orchestra of 19 plus conductor. Admittedly, I concentrated on words and vision, but this was hugely impressive. I heard a few wobbly bits, but this was played with verve and love that this music demands. Great!

So, to put it simply, I’m in awe of this show. Both of the work of Gershwin and Laurents and Sondheim and Robbins, and of this semi-professional but long-standing company that can pull it off so well. The highest of praise from your emotionally devastated reporter. Catch it if you possibly can.

I can’t list everyone, but West Side Story was presented by the Free-Rain Theatre Company with Anne Somes (director), John Yoon (musical director), Lisa Buckley (choreographer). Key actors were Lachlan Whan (Tony), Nicola Hall (Maria), Zack Drury (Riff), Jordan Kelly (Bernardo), Amy Dunham (Anita), Michelle Norris (Anybody’s), Max Gambale (Action). The orchestra comprised Major Geoff Grey (conductor), Bernadette Evans, Tony Barker, Jess Stewart, Steve Hally-Burton, Jordan London (reeds), Carly Brown (French horn), Cameron Smith, Claire Leske (trumpets), Matt Ricketts/Simon Hukin (trombone), Elizabeth Charlton, Elysia Fisher, Jane Bairnsfather (violins), Annie Collett (cello), Jace Henderson (bass), Rhys Mottley (guitar), Steve Richards (drums), Alicia Perritt (percussion), Matt Rankin (synthesiser) and John Yoon (piano).

* Glittering images : a journey through art from Egypt to Star Wars / Camille Paglia. New York : Pantheon Books, c2012.