Critics' choice theatre shows in Melbourne

There has been a disappointing run of big name shows underserved by low-key production design of late, with both the revivals of Rocky Horror and Grease seriously lacking in the razzle-dazzle department. So why does a similarly stripped-back staging of musical maestro Bob Fosse and Fred Ebb’s Chicago pull it off, like so many of the cast’s silken mesh costume changes? Perhaps something in the bare bones of this deceptively dark comedy, set in the Windy City in the fast and loose 1920s, lends itself to simplicity? Delivered via a sassy brawl between warring molls Velma Kelly (Zoë Ventoura) and Roxie Hart (Lucy Maunder), it’s a broken bottle-sharp commentary on an America that values celebrity crime most malignant over justice and the good of heart, that cuts even deeper now we’re staring down the barrel of a possible second Trump term. That swirling, prophetic darkness lends itself well to scenic designer John Lee Beatty’s darkened stage flanked by cabaret chairs and dominated by a bandstand atop which gamely charismatic musical director James Simpson leads a brass-heavy band through John Kander’s razzmatazz music.  “Give ‘em an act with lots of flash in it, and the reaction will be passionate … What if your hinges all are rusting? What if, in fact, you’re just disgusting?”The contradiction is inherent in the work. And so when Roxie opens the show by shooting dead the beefy but not bright Fred Casely (Devon Braithwaite, a stand-out in a spectacular ensemble) because he had the

My first encounter with the viridescent power of Wicked was through the sliding door of a suburban dance studio. Face pressed against the glass, I strained to hear the optimistic refrains of ‘One Short Day’, eyes bulging and dopamine levels skyrocketing. So widespread is the pop-cultural impact of this fan favourite musical, that half of Melbourne likely has a similar memory of discovering Wicked.  This faithful revival of the bewitching blockbuster sees the show fly into Melbourne for the third time in 15 years with an abundance of pine-hued pizazz, after celebrating the 20th anniversary of its Broadway premiere at the Sydney Lyric Theatre. It’s also worth noting that the Gregory Maguire novel that forms the basis of the plot was published back in 1995. After all this time, it’s only fair to check in and ask: does Wicked remain evergreen? The costumes, choreography and sets are as slick as they come, which is exactly what’s expected from a show that’s had this many chances to get it ‘right’. This version of Wicked is not reinventing the wheel – instead it’s the cast who keep the cogs turning in a fresh way.   There’s no mistaking that these performers are magical. While Melbourne always loves to get a show before Sydney, our advantage here is that the cast has had time to fully take command of their characters – and they’re flourishing.  Courtney Monsma’s G(a)linda is slap-your-knees, let-out-a-squeal funny. She re-shapes the virtue-signalling mean girl role and makes Glinda

“I thought you were going to tell me I didn’t need the pills anymore,” says eighteen-year-old Anna (Max McKenna) to her child psychiatrist, Vivienne (Louisa Mignone). Anna has completely misread the tenor of the conversation, which was actually about the need for her to transition towards seeing a therapist trained to work with adults. This early moment encapsulates the key struggles of The Almighty Sometimes, a coming-of-age story illustrating a young woman torn between emancipation and comfort, with the reality of a never-defined yet ever-present mental illness adding layers of complexity to what would otherwise be a universally relatable tale.  This multi-award-winning drama by Kendall Feaver has been staged in Australia before by Queensland Theatre and Griffin Theatre Company, yet the issues explored in this iteration from Melbourne Theatre Company feel topical and fresh with tight direction from Hannah Goodwin.   Screen legend Nadine Garner (Savage River, Neighbours, City Homicide) plays Renee, a school teacher and dedicated mum to ‘troubled’ daughter Anna. Alongside Anna’s new boyfriend Oliver (Karl Richmond) and her psychiatrist, Renee grapples with supporting her daughter as she pushes against the routines and limits that kept her safe during her adolescence.  Having recently rediscovered pages upon pages of her childhood writings, Anna has begun to wonder if the version of her that existed before she went on medication was a child prodigy destined for literary greatn