Melbourne theatre and musicals in January

The auditorium of the Regent Theatre is doused in a blood-red glow tinged with anaemic green as we take our seats, a buzzing neon sign already dropping his name twice. Providing both the manic music and leery lyrics, Perfect is, well, perfect as our unseen by most living souls poltergeist of ill-repute, accompanied by a jaw-droppingly bawdy book from Scott Brown and Anthony King. Expertly conjuring the blithe spirit of the movie, complete with its iconic ‘D’ay-O (The Banana Boat Song)’ possession, you’ll want to ‘Jump In The Line’ by curtain call on this riotously rabid real good time. 

Tackled by everyone from Roman poets Virgil and Ovid to Canadian indie rockers Arcade Fire and Katee Robert’s queered novel, Midnight Ruin, the myth of Eurydice and her Orpheus finds new life in the hands of folk singer-songwriter Anaïs Mitchell. Her eight Tony Award-winning smash-hit musical Hadestown began life as a sung-through community project before she turned it into a concept album, and then a Broadway smash with help from director Rachel Chavkin.

Forget about needing to fly thousands of kilometres to the other side of the world to see Les Miserablés – an epic production of the iconic musical has landed right here in our city, providing the chance to experience the magic of a performance from the crème de la crème of London’s famed West End. Les Miserablés is celebrating its 40th anniversary with a mega arena-sized version of the beloved show, filling Melbourne’s Rod Laver Arena with soaring songs for a limited time. For an avid theatre fan, or for those eager to witness a rare theatrical experience, this production is not one to miss.

The Birds marks the final in-house production helmed by outgoing artistic director Matthew Lutton, working from a screenplay by multi-disciplinary writer Louise Fox (The Trial). She’s hewn much closer to the talons of the du Maurier yarn than the Alfred Hitchcock film. As with Hitchcock’s freely spinning screenwriter Evan Hunter, Fox centres a woman as our protagonist. But not the spiky San Francisco socialite Melanie Daniels of the film, depicted by Tippi Hedren, who was infamously tortured by Hitchcock in her cursed debut appearance. Instead, award-winning actor Paula Arundell (Anthony and Cleopatra) predominantly plays Nat’s unnamed-by-du Maurier wife, now known as Tessa.

The entire journey of The Lord of the Rings is an incredibly ambitious thing to translate in this way, and musical theatre is a delicate form that can easily be mishandled. The result is a shallow tribute to LOTR that takes itself very seriously, but also doesn’t entirely do justice to musical theatre as an artform. So the question arises: who is this for? Sure, the commercial incentive to produce a show tied to a franchise that is already well known and loved is obvious (it’s the same reason we seemingly can’t go a day without Lego releasing another pricey Harry Potter-inspired kit). But there’s a thin line between boarding the nostalgia train and the risk of oversaturating the market (rumours are that viewership numbers are dwindling for the second season of Amazon’s costly new series set in Middle-earth).

Arguably none of Andrew Lloyd Webber’s shows have hit harder than his 1971 rock-opera, Jesus Christ Superstar, which arrives at Melbourne’s Princess Theatre after a much-lauded run in Sydney. First revived at London’s Regent’s Park Open Air Theatre in 2016 for the show’s fiftieth anniversary, it’s been restaged in Australia by director Timothy Sheader. Sheader favours a ‘more is more’ approach, leaning into every ‘Webber-ism’ that made the show a success in the first place: rock'n'roll maximalism, near-inhuman vocal lines, emotional spectacle. No crucifix is too glittery or top note too loud. Megawatt vocals and an electric ensemble cast make it a cut above the other Webber revivals we’ve seen in the last couple years. Yet its heavy-handed approach also exposes the limits of spectacle for spectacle’s sake, even when it comes to Webber.

Humans 2.0 is a tight 70-minute circus show comprising ten highly skilled performers and presented by Circa at Arts Centre Melbourne. Directed by Yaron Lifschitz, the performance takes place on a bare stage marked only by a white circle with banks of lighting around the outer periphery. The show is at its best when leaning further into its choreographic language, which is a signature of this company. In these briefest of moments we come closest as an audience to an examination of the human condition. Without these passages all that remains is a very lean show consisting solely of a regimented presentation of circus acts.