The night beckons: Phantom of the Opera musical Singapore press call

For Popcorn

THE NIGHT BECKONS: PHANTOM OF THE OPERA MUSICAL PRESS CALL

We peek behind the mask with the cast of the blockbuster musical
By Jedd Jong

The Phantom of the Opera is a familiar show and one that’s come to represent musical theatre, but a show that retains its mystique and appeal 30 years on. The musical debuted on the West End in 1986 and on Broadway in 1988, running uninterrupted in both regions since then. There have also been multiple touring productions, a 2004 feature film adaptation and a 25th anniversary performance. It is estimated that a staggering 140 million people have seen The Phantom of the Opera, and the musical has grossed over $6 billion.

It seems that Singapore can’t get enough of the Phantom – this is the show’s fourth visit to our shores, following productions in 1995, 2007 and 2013. The Phantom of the Opera features music by Andrew Lloyd Webber and lyrics by Charles Hart and Richard Stilgoe. Many of its songs, including the title track, “Music of the Night”, “All I Ask of You” and “Masquerade”, have become popular culture staples. In addition to its memorable music, the show has become known for its spectacular sets, costumes and special effects, with a chandelier crash being its signature moment.

Based on the French novel by Gaston Leroux, The Phantom of the Opera is a sweeping romance set in the Paris Opera House. The titular character is a disfigured genius who lives in the catacombs beneath the opera house, and develops a fixation of Christine Daaé, a young ingenue in whom he sees tremendous potential. Raoul, the wealthy Vicomte de Chagny, is a childhood friend of Christine’s who re-enters her life, falling in love with her. The Phantom is determined to win Christine’s love at all costs, wreaking havoc on the Opera House and its occupants. Christine finds herself caught in a struggle of power and passion as dramatic as the operas she performs in.

This production opened on April 24 at Marina Bay Sands Singapore, where it is playing until June 8. The company arrived from Manila and this production retains the original costume and set design by the late Maria Björnson, with some elements redesigned to facilitate the touring. From the afore-mentioned chandelier to the grand staircase in the foyer of the Opera House, from the Phantom’s watery lair with its gondola and portcullis to the roof of the Opera house under a starlit sky, The Phantom of the Opera is as much a feast for the eyes as it is for the ears.

The title character is played by Jonathan Roxmouth, who last visited Singapore playing Che in Evita. Roxmouth has a smouldering leading man quality to him and is a fan of the show himself, sporting a pin in the shape of the Phantom’s mask on his lapel. He has a history with the show, having first played Raoul, then playing the Phantom. Looking back, he said “I was 24 and suddenly given the keys to the Rolls Royce that I was meant to rent twice a week. I was terrified; I didn’t have enough confidence in myself, I doubted myself every time. I got there, but it was a very, very difficult process.”

Roxmouth said he now understands why the conventional wisdom is that one should be of a certain age to take on the role of the Phantom. “I’ve lived a lot in the last eight years. I’ve had experiences with sadness, love, of heartbreak, of loneliness, all the things that you need as an adult in your emotional toolbox as an actor to truly paint well for an audience.”

The role of the Phantom is a physically, vocally and emotionally demanding one which requires the actor to wear extensive prosthetic makeup and have half their face obscured by a mask. “If you think about kids around Halloween, when they put a mask on, they behave in a way that they normally wouldn’t, because it’s not them. Their inhibitions go out the window because there’s no consequence,” Roxmouth remarked. “That mask, it changes you, it really does,” Roxmouth added, comparing it to being possessed. “The minute you hear that organ, I feel my DNA change, it’s the strangest thing,” he commented.

The role is a personal one for Roxmouth because he identifies with the Phantom. Roxmouth related how growing up, he was bullied for being overweight, and turned to music as an escape. Because his family couldn’t afford a piano, Roxmouth would play the piano in the school hall. “Some of my friends nicknamed me ‘the Phantom’ in high school because if you didn’t know where I was, nine times out of ten I would be in the school hall with my back to the door playing the piano,” Roxmouth recalled, adding “I was him, in a way…all I had was music.”

Roxmouth said that having played Raoul before playing the Phantom gave him a better understanding of what Christine goes through as a character, since she is the object of both their affections. “If you want to win a war, know your enemy. I know my enemy,” he quipped.

Said enemy is ostensibly the hero of the show, but after all, it’s called “The Phantom of the Opera” and not “Raoul”. This is something Matt Leisy, who plays Raoul, is aware of. “I like to think that I make it a harder decision for Christine and the audience,” he says with a smile. In a way, the deck is stacked against him, because audiences are conditioned to gravitate towards the dangerous Phantom, rather than Raoul, who comes off the safe option. “He has to work really hard to get Christine, it’s just a constant struggle,” Leisy commented.

Raoul is the heir to a family fortune and as such can come off as entitled and flippant, but seeing Christine again so many years later changes him. Leisy described Raoul as being a “bit of a playboy in the beginning, but he’s essentially a romantic.” He also must be a swashbuckling action hero, leaping in to save the day during the show’s climactic confrontation in the Phantom’s Lair. “He has to play the hero because he knows what he wants, and he wants to save Christine,” Leisy said, referencing the character’s Naval background in the novel.

While many audiences might gravitate to the Phantom, Raoul’s point of view makes sense – after all, the Phantom is a murderer. “They have a complicated relationship, I think it’s the music and they have a deep connection, but she overlooks a lot of red flags!” Leisy remarked of the romance between Christine and the Phantom.

Meghan Picerno, who plays Christine, did not grow up with the show because she had a classical music background rather than a musical theatre one. However, after seeing the show, she immediately understood the appeal of the role. “It is nothing less than an incredible, challenging and rewarding journey,” Picerno said of Christine’s arc.

Christine is a character who goes from having others around her and external forces define her, to eventually wresting back control over her own destiny. “To have the great opportunity to indeed start at a place where she willingly gives her power to those around her, then finds herself in the midst of that, and owns it and takes the power by the end, is so empowering and so magical and satisfying,” dark  enthused.

Phantom is a show about darkness and light, with the Phantom representing the former and Raoul the latter. However, Picerno explains that there’s more to it than that. “Once you start to look deeper, indeed, they have such a mix,” she remarked. “Raoul is both light and dark, and so is the Phantom, and so is Christine. She wouldn’t be attracted to either of them if she didn’t have both [qualities] within her.”

Picerno compares the Phantom and Raoul using their respective signature songs, “Music of the Night” and “All I Ask of You”. “They’re satisfying different emotional aspects of her,” Picerno reasoned. “’Music of the Night’ is an awakening of her senses, her sexuality. ‘All I Ask of You’ is an awakening of her needs, her heart, her emotions, her wanting to be taken care of.”

One of Picerno’s favourite moments in the show is the ending, known as “Final Lair”. “There’s so much raw, true human emotion that’s in that scene and so much happens in that short amount of time,” Picerno said, adding “To see it and perform it, nothing can compare in my mind.”

With its potent mix of mesmerising music, a passionate love story, eye-catching stagecraft and a place in pop culture consciousness, it’s no wonder Phantom continues to entrance and seduce audiences more than 30 years after it first cast its spell.

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Top of the Class: Matilda the Musical press call

TOP OF THE CLASS

Matilda the Musical takes Singapore audiences back to school

By Jedd Jong

A precocious young hero who starts a revolution against the cruel principal of her prison-like school: it’s a story that ignites something in every child. Matilda began life as a novel by celebrated children’s author Roald Dahl, first published in 1988. It was adapted into a radio play, a 1996 film directed by Danny Devito, and a blockbuster 2010 musical.

Matilda the Musical is one of the most-acclaimed stage productions in recent memory, winning seven Olivier awards in 2012 – the most ever won for a single production at the time. The show also won five Tony Awards, including best book.

Featuring a book by Dennis Kelly and music and lyrics by Tim Minchin, Matilda is a show that has captured the imagination of theatregoers and made many misty-eyed. The musical was originally directed by Matthew Warchus, developed by the Royal Shakespeare Company (RSC) and first staged at the RSC’s home, the Courtyard Theatre in Stratford-Upon-Avon. The show then moved to the Cambridge Theatre on the West End where it is still playing. A Broadway production ran from 2013 to 2017.

In addition to Roald Dahl’s enduring characters and Tim Minchin’s music and lyrics, audiences can also look forward to acrobatics, set pieces including a signature moment involving swings, and mystifying illusions designed by Paul Kieve.

The titular character is a five-year-old with a penchant for reading, a curiosity about the world and a mysterious, possibly supernatural power. Matilda is neglected by her shallow parents the Wormwoods, who dismiss her because she’s a girl. She finds solace in the library, enchanting the librarian Mrs Phelps with her talent for storytelling.

Matilda is enrolled in Crunchem Hall Primary School, where she impresses the kind teacher Miss Honey. However, Matilda earns the ire of the cruel headteacher Miss Trunchbull. Though she is small in stature, Matilda finds a power within her, galvanising the school in an uprising against the treacherous Trunchbull.

At the press call, the numbers “Naughty”, “When I Grow Up” and “Revolting Children” were performed for the media.

“This is exactly how I would expect the Royal Shakespeare Company to create a musical,” resident director Natalie Gilhome said. It’s her job to ensure the production stays true to the vision of original director Warchus. “It’s so intelligent, it’s so multi-layered so that adults get as much out of it as children get,” Gilhome enthused. “It’s so beautifully crafted as a piece that I think that’s a lot to do with the history of the RSC and the creatives that put it together.”

From left: Lilla Fleischman, Morgan Santo, Kitty Harris and Sofia Poston

This production, presented by BASE Entertainment and Lunchbox Theatrical, is the International Tour which was first staged in South Africa in October 2018. The title role is shared by four girls: Singaporean Sofia Poston and South Africans Lilla Fleischmann, Morgan Santo, and Kitty Harris, who are nine, 14, 11 and 10-years-old respectively.

Ryan de Villiers stars opposite the girls playing Matilda as Trunchbull, who lives to torment children and who focuses her resentment on the new star pupil. The role is typically played in drag, with taller, physically-imposing actors cast to emphasise the David-and-Goliath dynamic between Matilda and Trunchbull.

“I think it’s so much fun to play the bad guy,” de Villiers said. “I don’t think I’m the bad guy in real life, so getting to play someone who’s so opposite to who I am is so much fun.”

The character’s costume, which also includes a hunchback prosthetic, helps de Villiers get into Trunchbull’s headspace and plays up the character’s severity. “Everything is quite restrictive, not so that I can’t sing or speak, but it definitely helps with the physicality,” de Villiers explained.

Part of Trunchbull’s back-story is that she was an Olympic-level hammer thrower. She exhibits sheer physical strength, coupled with an unyielding demeanour. “Her uprightness and rigidity are very important to the character,” de Villiers said. “Posture-wise, she has really, really good posture, something I don’t always have. The way she walks is very calculated as well – everything about her is very calculated, until of course she loses it, then things go a little bit haywire,” de Villiers added with a smile.

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From left: Bethany Dickson (Miss Honey), Nompumelelo Mayiyane (Mrs Phelps) and Ryan de Villiers (Miss Trunchbull)

Thankfully, de Villiers does not agree with his character’s disciplinary methods. De Villiers stated that teachers should never resort to physical violence when dealing with their charges, adding “Even berating a child or speaking down at a child, it’s not good for their self-confidence and how they might end up in the future. It’s the teacher’s responsibility to find nice ways to deal with children.”

Trunchbull hates Matilda, but de Villiers has nothing admiration for his young co-stars. “They are all so professional, so wonderful, so talented, so it’s really inspiring to watch them onstage,” he enthused. De Villiers admitted that he does enjoying playing the ridiculous cruelty that Trunchbull enacts towards Matilda and the other students, saying “It really is a lot of fun on stage shouting at them and seeing their reactions.”

Musical director Louis Zurnamer was last in Singapore with the touring production of Evita. Describing the music of Matilda, Zurnamer said that unlike the music of Andrew Lloyd Webber, Minchin’s compositions are “almost deliciously devoid of very long lyrical melodic lines.” Zurnamer described the incidental music by orchestrator Chris Nightingale as “something like Amélie, like French film music.”

Zurnamer leads the eight-piece band which plays live in the orchestra pit during every performance. “We have a cello and a bass clarinet, instruments that bring a very specific colour to the show as well,” Zurnamer revealed, describing that colour as a darkness and maturity to the story, told from a child’s perspective. Speaking about how the music of Matilda stands out in the landscape of classic and contemporary musicals, Zurnamer said “It doesn’t sound like Jason Robert Brown or Stephen Schwartz, it’s a new language and it’s so divine. My toes curl with delight every time I hear it, it’s so lovely.”

If there’s one physical part of the set that gets a lot of attention, it’s the swings suspended from the ceiling. One of the major challenges in developing a touring version of Matilda was in engineering swings that would work the way the swings in the West End production do, but which can also easily be installed and removed in theatres.

The swings feature in the wistful number “When I Grow Up”. “It’s the one number where you get to see this beautiful fantasy,” Gilholme said, adding that “there’s a purity that sometimes we lose when we grow up, so it’s so nice to see that childlike perception of what life is as adults.”

“The swings are probably one of the most impressive parts of the show, and something that we take very seriously as we have kids on them and cast members flying out over the audience,” stage manager Peter Barnett said during our backstage tour. “We double-check and triple-check these and run them every single day,” he said, adding that there are hidden safety measures in the swing seats.

Audiences can enter the foreboding gates of Crunchem Hall and witness Matilda’s rousing struggle for justice when they watch Matilda the Musical, which runs from 21 February to 17 March at the Sands Theatre at Marina Bay Sands. Tickets start from $68 (excluding $4 booking fee). Please visit https://www.marinabaysands.com/entertainment/shows/matilda-the-musical.html for more information and to purchase tickets.

Photos by Jedd Jong 

 

 

 

 

 

 

 

 

1995: A Space Odyssey – Captain Marvel stars and directors in Singapore

By Jedd Jong

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2018 was a banner year for the Marvel Cinematic Universe, delivering the one-two punch of Black Panther and Avengers: Infinity War. Ant-Man and the Wasp served as a palate cleanser that still teased 2019’s big event – Avengers: Endgame.

The MCU movie that immediately precedes Endgame is Captain Marvel, which introduces one of Marvel’s most powerful heroes to the cinematic canon. The post-credits stinger of Infinity War depicted Nick Fury (Samuel L. Jackson) activating a pager and calling for Captain Marvel’s help before he demateralised alongside Maria Hill (Cobie Smulders).

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Captain Marvel will depict the first meeting between Fury and the titular hero. The movie takes place largely in 1995 and centres on Carol Danvers/Captain Marvel (Brie Larson), a U.S. Air Force pilot who transforms into a super-powered intergalactic peacekeeper. When earth is threatened by the shape-shifting Skrull invaders, Captain Marvel returns to her home planet to fight them and to rediscover the past existence she has long forgotten.

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Stars Brie Larson, Samuel L. Jackson and Gemma Chan and directing team of Anna Boden and Ryan Fleck were in Singapore to promote the movie at Marina Bay Sands. On the agenda was a press junket, interviews and a massive fan event in the evening.

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Boden and Fleck are the latest indie directors to move from the world of smaller-scale dramas and comedies onto the largest stage imaginable, the MCU. “When you saw Half Nelson, it was just obvious we would be doing a superhero movie next,” Fleck joked, referring to their breakout film starring Ryan Gosling. The duo is also known for directing Mississippi Grind starring Ryan Reynolds and Ben Mendelsohn, and for directing episodes of TV shows including Billions and The Affair.

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Boden has become the first woman to direct an MCU movie – the only other female director to have helmed a Marvel movie so far was Lexi Alexander, who made 2008’s Punisher: War Zone. “This is a movie I really wanted to be part of. This is a character that so many people care so much about,” Boden said, adding “it’s 2019 and I think that everybody here looks forward to the day that it’s not news-worthy that a woman is directing this type of movie.” Boden is in good company, with Patty Jenkins having directed Wonder Woman and directing its sequel, Cathy Yan helming Birds of Prey and Cate Shortland directing the upcoming Black Widow solo movie.

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Fleck recounted the process of pitching the movie to Marvel Studios president Kevin Feige. “When we went in there to talk to Kevin and the team at Marvel, and Brie as well, we were on the same page to make this character as complex and messy and human as possible, funny and tough and also vulnerable at the same time,” Fleck recalled. “They were like ‘yeah, that’s the movie we want to make,’ and here we are.”

Speaking about the production support built into the MCU machine, Boden added “[Marvel] said ‘We know how to make the big explosions, we need people to focus on the stories and the characters.'”

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The film chronicles Carol Danvers’ transformation into Captain Marvel, and behind the scenes, Oscar winner Brie Larson also underwent a staggering transformation to play the role. She embraced the physical challenge of portraying one of the most powerful superheroes in existence, saying “There’s something about pushing yourself beyond the threshold of what’s comfortable and then going even further than that…it means sometimes that you end up on the floor crying, begging for it to stop.” Larson surmised that those moments of breakthrough in the midst of pushing oneself to the limit embodied the spirit of Carol Danvers.

The arduous training paid off: Larson can dead-lift an impressive 102 kg and pushed a jeep up a hill for 30 seconds. Larson became fond of sending co-star Samuel L. Jackson videos of her workout progress, “just to brag”.

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Larson found the process of learning and executing action sequences rewarding, because there was a level of satisfaction in completing the task. Compared with typical acting which is up to interpretation, Larson found working on fight scenes more clear-cut. “There’s a right and a wrong way to punch an alien and that’s how it goes,” she stated.

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Larson also spent time flying in actual fighter jets, going onto Nellis Air Force Base and meeting with U.S. Air Force Brigadier General Jeannie Leavitt, the first female fighter squadron commander in the Air Force’s history.

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Costumes are an integral part of any comic book movie, and the costumes in Captain Marvel are no exception. Carol’s default costume is a red, blue and gold variation of the green Starforce uniform she wears at the beginning of the film. The costumes were designed by Sanja Milkovic Hays, whose credits include Star Trek Beyond and the recent Fast and Furious films. Larson described the costume as a “restrictive rubber suit,” comparing moving around in it to “treading water all day”. She described shooting an action sequence in which Carol hangs off the side of a train, saying “It wasn’t until we got there that it was like ‘oh, I can’t lift my arms.'”

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Larson has a particularly adorable co-star in the film: a cat named Goose, based on the character Chewie from the comics. The name ‘Goose’ is a nod to Top Gun. The cat may be more significant to the plot than it first appears, so much so that it got its own character poster. “We had four cats playing our lead cat Goose,” Boden said. “Reggie is really the face, the star, the heart and the soul of the character.” Reggie shared the role with Archie, Rizzo and Gonzo. Orders came from on high to increase the cat’s screen time: Boden related that “very early on in the development process, Kevin Feige looked at one of our outlines and said ‘we need 100% more of that cat in there.’ And he got it and so did you!”

Here’s the video of me asking about the cat.

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The very slightly less adorable Samuel L. Jackson is no stranger to the MCU. In this movie, he plays a younger version of Nick Fury with the help of de-aging technology, previously used on actors including Michael Douglas, Michelle Pfeiffer, Kurt Russell and Robert Downey Jr. in other MCU movies. This is a Fury before he lost sight in one eye and before he became the director of spy agency S.H.I.E.L.D. Instead of putting on a prosthetic scar and eyepatch like he normally would, Jackson wore motion capture dots on his face, so his expressions could be transferred to a more youthful visage.

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“Along with having two eyes, I have a lot less instinct than older Nick Fury has,” Jackson reflected. “I learn a lot from [Carol] over the course of the film and it helps a lot.” Jackson glanced at Larson, before exclaiming “She’s my first alien!”

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One of the members of Carol’s Starforce team is Minn-erva, played by Gemma Chan. Chan was recently seen in Crazy Rich Asians and is also known for her role in the sci-fi TV series Humans. Minn-erva is a deadly sniper with a penchant for sarcastic asides and a bit of a mean streak. “She’s pretty badass,” Chan said. “She’s not so nice, she’s got a bit of an edge, and there’s definitely a physical challenge as well.”

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Part of that physical challenge was in trying not to get bested by her own props. “The main thing during Captain Marvel that I had to be concerned about was trying not to hit myself in my face with my own rifle. The one that I practised with was a bit shorter than the one I used in the film, so I had to adjust for that,” Chan said to laughter.

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When asked who she might want to team up with in a future Marvel film, Larson mentioned Ms. Marvel. The current Ms. Marvel in the comics is Kamala Khan, a young Muslim woman hailed as a positive role model. Feige has cryptically said that he “has plans” for her inclusion in the MCU, so Larson might get her wish yet.

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One journalist bravely attempted to broach the topic of Captain Marvel’s role in fighting Thanos in Endgame. “That is a really great question that I absolutely cannot answer, but more power to you for asking and very good try,” Larson said.

Someone had to give it a go.

 

 

 

 

Strut Your Stuff: Kinky Boots musical press call

STRUT YOUR STUFF

The cast and creatives of Kinky Boots discuss the award-winning musical, making its way to Singapore for the first time

By Jedd Jong

From 5 – 14 October 2018, the stage of the Sands Theatre at Marina Bay Sands Theatre will be transformed into the assembly line of the Price and Son Shoe Factory. This is the main setting of the musical Kinky Boots, adapted from the 2005 film of the same name.  The musical was first staged in Chicago in 2012 and went on to be a smash hit on Broadway and the West End, winning awards including Best Musical and Best Original Score Tony Awards. The show boasts music and lyrics by rock star Cyndi Lauper and a book by Harvey Fierstein.

Kinky Boots is set in Northampton, England, where Charlie Price has just inherited a shoe factory from his father. Without any ongoing contracts, the factory is about to be shut down, and Charlie finds himself at an impasse. A chance encounter with the flamboyant, assertive drag queen Lola changes both their lives. Charlie learns that the heels on Lola’s boots keep snapping, because the boots Lola wears weren’t designed to withstand a man’s weight. Charlie decides to make boots for Lola and her troupe of drag performers, changing the factory’s output from men’s dress shoes to “two-and-a-half feet of irresistible, tubular sex”. Charlie and Lola form an unconventional partnership, with the goal to debut a collection of boots at the prestigious Milan International Shoe Exhibition.

This production has gone to U.S. states including Philadelphia, Arizona, Colorado, California and Vermont since September 2017. From June to August, the production then toured China, with stops in Shanghai, Guangzhou and Beijing. After its Singapore stint, the tour will return to the U.S., visiting states including Kentucky, Alabama, Florida, Indiana and Tennessee.

inSing spoke to members of the cast and crew about their experience being on the road with Kinky Boots. Lance Bordelon stars as Charlie, but was not available to speak to the media at the press call. As the actor playing Lola, Jos N. Banks has most of the spotlight on him. Banks described the show as being “about love and acceptance” and said that’s why it’s been received so well.

Most of Lola’s musical numbers, especially her introductory song Land of Lola, are as bold and flashy as the drag queen herself. However, Banks’ favourite moment in the show is the song Not My Father’s Son, which showcases Lola at her most vulnerable, recalling the expectations placed on her growing up by her father. “It’s the first time in the show that the audience really gets to connect with Lola because it’s pared down,” Banks said, adding “you don’t see the big wig and costumes, you see Lola as a person, and that’s the moment you instantly connect with the audience.” The song starts off with just the piano and Banks’ voice. “There’s something very beautiful and I think there’s something very remarkable in the silence of it all,” he concluded.

Company manager Andrew Terlizzi called the show “a story that reaches everybody.” On the effect the show has had on audiences, he said “Chinese audiences who have never done drag performances themselves were inspired to come in full drag to see the show.” Terlizzi said the show had “opened [audiences’] eyes that they can be who they are”.

Wardrobe supervisor Michael Lavin oversees the show’s costumes, including those all-important boots. “We have a lot of very specific items that have to be maintained to very specific directions,” Lavin noted, adding that finding local suppliers and replacement parts when the show is on tour can be a challenge.

Dancing in said boots can seem like a formidable feat, but the performers in Kinky Boots make it look easy. “After a couple of weeks, you get used to it,” Philip Stock, who plays one of Lola’s Angels, told us. “There’s a different centre of gravity, you have to engage your core in a way you wouldn’t normally, but once you figure all that out, it’s normal,” he remarked.

Stock’s fellow Angel, Derek Brazeau, reiterated the show’s message: “just be who you want to be.” “All of us having differences is what makes us human. We’re not perfect, and I think that’s what makes us beautiful,” Brazeau said.

We spoke to the musical’s leading ladies Sydney Patrick and Hayley Lampart, who play Lauren and Nicola respectively. Lauren is a factory worker at Price and Son who finds herself falling for Charlie, but there’s a complication: Charlie’s already engaged to Nicola, who can be demanding and has grown frustrated with Charlie’s mission to make boots for drag queens.

Patrick cited Everybody Say Yeah, the closing number of Act One, as her favourite part of the show. “That’s when we decide as a factory that we’re gonna go through with the plan,” Patrick said, describing the number as “just a party onstage and everyone’s dancing on the factory pieces”. The conveyor belt on the factory floor splits apart, forming individual treadmills that the factory workers dance on. “It’s scary in the beginning when you’re learning it,” Patrick said of dancing on the treadmill. “We had a gymnastics day, when everyone was learning how to flip and stuff. Now, it’s normal. It’s just fun as this point.”

Patrick recalled how her mother introduced her to the film when Patrick was a teenager. my Mum said ‘I saw this cool independent British film’ – my Mum’s all into independent films. She sat me down and made me watch it with her. It’s so amazing, and many years later, I was like ‘there’s this musical called Kinky Boots’ and she said ‘that’s the movie I showed you!’” She told us that her parents were excited and proud to see her join the cast of the show, and would travel to watch the show as it went to different locales.

Lampart recalled watching the original Broadway production while she was in college in New York City. “I went out and saw it right away because it was such a hit immediately,” she said. “Billy Porter and Stark [Sands], it was the dream cast. Annaleigh Ashford, they were so good, Lena Hall.  When I saw it, I remember being like ‘oh my god, this would be so cool to be in,’ and it’s so crazy that it happened! Here I am, in Singapore.”

Both Patrick and Lampart have performed on cruise lines: Patrick on Disney Cruises and Lampart on Norwegian Cruise Lines. Patrick described herself as a “travel addict” and enjoyed visiting the different ports of call, but there are challenges to working on a cruise ship too. They touched on the difficulty of keeping in contact with the outside world and that the nature of a cruise is that time zones keep getting crossed.

“It’s such a fast-paced life and I really like that, I think I’m very adaptable because of that,” Lampart said of working as an entertainer on a cruise ship.

The Lauren character’s solo number is a wistful lament called The History of Wrong Guys, in which she reflects on her dating past and realises she’s falling for Charlie. When asked to offer romantic advice to those who seem to keep ending up with wrong guys (and/or gals), Patrick offered “If you are authentically you, you’ll attract someone who loves you, so you don’t have to try, you don’t have to try and prove anything to anyone. I think that’s probably the best lesson to do when you’re looking for your Mr or Mrs Right”.

The life of a touring theatre performer can be an arduous one, involving eight performances a week, moving from city to city, and long periods spent away from home. However, it is one that Patrick and Lampart find rewarding.

“I think we live in a world that can be very disconnected and very impersonal because of technology, texting and social media,” Patrick said. “Hopefully people who come to see theatre witness raw emotion that they can connect with and can think ‘I’m not alone’ or ‘I’ve had that experience before’ and they can open their hearts and minds to other people’s stories.”

Lampart remarked that shows like Kinky Boots “don’t come often,” and that the show’s directors told the cast as much. “They said this show makes such an impact on people and when you walk offstage every night after the finale, you just feel the feeling of maybe, hopefully changing someone’s perspective. It’s such an amazing feeling,” she enthused.

Tickets start at $65 (not including $4 booking fee) for D Reserve Seats. Tickets are available here.

Pride Rock of Ages: The Lion King musical press call

For inSing

PRIDE ROCK OF AGES: THE LION KING MUSICAL PRESS CALL

inSing is transported to the plains of Africa for a peek at The Lion King musical

By Jedd Jong

“Nants ingonyama! bagithi Baba!”

That’s the evocative cry by Lebo M. which opens the 1994 animated film The Lion King. It’s Zulu for “Here comes a lion, Father” –  and several lions have arrived back at the Marina Bay Sands Theatre in Singapore.

The Lion King stage musical premiered in 1997 and took the world by storm. It has gone on to become the world’s top-grossing musical, and when it first came to Singapore in 2011, enjoyed a record-breaking eight-month-long run.

The show features an eclectic blend of music, incorporating the expanded film score by Hans Zimmer, Mark Mancina and Jay Rifkin, songs by Elton John, Tim Rice, Lebo M., director Julie Taymor and Robert Elhai.

Even more than its sound, it is the look of The Lion King that has captivated theatre-going audiences around the world. Taymor approached translating the animated film to the stage with a specific vision, incorporating puppetry inspired by traditional Balinese, Javanese and Japanese dance and theatre. Technical innovations were married with a variety of cultural inspirations, creating a unique theatrical presentation.

Loosely inspired by Shakespeare’s Hamlet, The Lion King tells the story of Simba, who suffers a tragic loss in his childhood and must return to rescue the kingdom he has fled, where his evil uncle Scar now rules.

The 2018 international tour presented by The Michael Cassel group in association with Disney Theatrical Productions enjoyed a run in Manila before transferring to Singapore. There’s an emphasis on ‘international’ – cast members from 19 countries including South Africa, New Zealand, Mexico, China, Australia, and the United Kingdom comprise the ensemble.

This iteration of the show began with casting and rehearsals in South Africa, with the participation of co-composer Lebo M and the show’s original director Taymor.

“It’s been quite an adventure, a lot of milestones, too many to remember,” Lebo said wistfully.

When Lebo M. was brought into the studio by Hans Zimmer to sing a demo, the animated film didn’t even have an official title yet. What could’ve been just another gig for the South African singer wound up changing his life. “It turns out that the demo I did, “Nants ingonyama”, what you hear around the world for the last 25 years is exactly what it was when we did the demo. Two takes.”

It’s clear that even after all this time, Lebo M. is deeply attached to the show. “It keeps you very busy, keeps you fresh, you don’t feel like you’re doing the same thing for 22 years,” he remarked, adding that “when you have a project like this, it’s very hard to do something else.”

Michael Cassel and Lebo M.

Australian producer Michael Cassel also has a history with the show – he was responsible for setting up Disney Theatrical in Australia at age 21 in 2002. “It’s where I learned how to be a producer,” Cassel said of The Lion King. Cassel promises that the experience that audiences watching the show in Singapore will get is exactly the same as what they can expect from a Broadway or West End production of The Lion King. “It’s the same show. There are no changes, no compromises, no reductions to the show,” Cassel declared. He added that interest in the Singapore season has already “exceeded expectations”.

At the press call, the opening number “Circle of Life” was performed. It’s a truly overwhelming piece in which audiences first witness the various types of puppetry and movement used to bring animals from cheetahs to elephants to life. Right out the gate, the show’s magic embraces the audience.

“I love watching the reaction of the audience during “Circle of Life”. I’ve seen grown men cry,” dance captain Theresa Nguyen commented.

The show is a physically intensive one that requires its performers to be skilled in multiple disciplines. “We have some of the best dancers in this company, so I was very fortunate to start with highly technical, highly trained and very strong performers,” Nguyen said of the ensemble. “It’s a real challenge to put on a puppet on your head, or a cheetah on your back, or to carry heavy shields and dance and tell a story.”

For Jonathan Andrew Hume, who plays Simba, returning to Singapore with The Lion King holds a special significance. Hume joined the ensemble of the show in the West End in 2001, and worked his way up to audition for the role of Simba in 2010. In 2011, he starred as Simba when the show came to Singapore.

“To be able to come back to Singapore to do the show which is so special to me, it was my crowning of being Simba, I really feel like I’m coming home,” Hume said. Things have come full circle for him – a circle of life, if you will.

Speaking about the international cast and crew, Hume said “We rely on each other, we support each other and we respect each other – not just onstage, but offstage. That kind of relationship only breeds a beautiful performance that you see every single day on the show.”

Noxolo Dlamini and Jonathan Andrew Hume

Noxolo Dlamini stars opposite Hume as Nala, Simba’s childhood friend-turned-love-interest. This writer asked about her reaction to Marvel Studios’ Black Panther, which recently brought cultural elements from across the African continent to mass audiences.

“Watching Black Panther was absolutely incredible because I’m from South Africa and it was lovely to see me being represented in a Hollywood film, and The Lion King is just the same,” Dlamini observed. “It’s beautiful because we love to share our culture, and I think with any culture all around the world, it’s so beautiful to see people appreciate your culture.”

The many demands of the roles require the cast to be in peak physical condition. “I try to eat well. Singapore has such good food and I love good food, but I also need to remember that I have a job to do,” Dlamini quipped with a laugh. “It’s just remembering that I need to keep in shape and I need that corset to fit me over the next three months,” she said, adding “I do it for Nala.”

The father-son relationship between Mufasa and Simba is at the emotional core of the show. Mthokozisi Emkay Khanyile, who plays Mufasa, drew on his personal background for his interpretation of the role. “I come from a very spiritual family and tradition myself, as a Zulu man. I believe in my ancestors as well. It helps to have that connection when Mufasa has to impart his life lessons and his traditions and his spirituality to Young Simba.”

Antony Lawrence and Mthokozisi Emkay Khanyile

Even out of costume during our interview, Khanyile projects the ideal blend of regalness and warmth. Speaking about how Mufasa must be both a king and a father, Khanyile mused “it’s a balance that he has to find. Unfortunately, he doesn’t know he’s running out of time, but he has a sense that he has to get this message across to [Simba] now. He has to take the mask off at certain points and be a father and just not be the king at all, and there’s a different Mufasa that comes out in that instance.”

Khanyile takes the expectations audiences will have of him in his stride. “Everyone remembers the first time they saw The Lion King, and when Mufasa dies, how they felt,” he said. “Having that as something that I am entrusted with to give to an audience eight times a week is a huge responsibility.” Rather than being daunted by it, Khanyile is empowered by the expectations. “I know that I have to do the best and I know that I have to enjoy it, because if I’m enjoying it, then the audience gets to enjoy the character as well,” he explained.

English actor Antony Lawrence plays Scar, the villain of the piece – or, as this writer likes to refer to the character, ‘Clawdius’. Lawrence identified Scar as marking a turning point in the chronology of Disney villains, who had earlier mostly been cackling witches. “He has his scary moments, but then he’s incredibly funny and incredibly sarcastic and he’s witty and he’s charming,” Lawrence observed. “He’s not just evil, there are all these other layers to him.”

Scar derives pleasure from manipulating others so he can get a rise out of them. “He loves winding Zazu up, he loves winding Mufasa up,” Lawrence said. “If he makes his brother snap, all of a sudden the king’s not acting very king-like, and he made that happen.”

For a show with so many moving parts, there are bound to be the occasional snags, but Lawrence and his castmates roll with the punches. “If something happens, the important thing is to stay in character and use it in a way,” he reasoned. “My mask can sometimes be a bit temperamental and if it moves by itself, I just go with it.”

Zazu, the king’s majordomo, represents the colonial presence in Africa and is a caricature of a stuffy English butler. Australian actor André Jewson portrays the supercilious hornbill. He recalled being “blown away by the inventiveness and beauty of the production” when he first saw The Lion King during a family holiday to Sydney. Dressed in a bowler hat and tails, sporting white and blue facepaint and manipulating a Zazu puppet, Jewson sticks out from the rest of the cast, and that’s by design.

“He’s very erect, he’s like a butler or even a waiter – the arm [held out in front of him] is like a waiter in a posh restaurant with a white napkin over the arm,” Jewson said as he demonstrated the Zazu puppet for the press. Jewson summed up Zazu’s traits as “twitchiness, reminiscent of fight, of flight, bird characteristics melded with this posh Englishman.” Jewson said that acting with the puppet felt awkward for the first month of rehearsal, but after that point, it all became muscle memory.

The puppets were designed by Taymor and Michael Curry – Curry recently devised the Sven reindeer costume for Disney Theatrical’s latest Broadway musical, Frozen. A core concept of the presentation of the Lion King musical is the ‘double event’ – the actors operating the puppets are not hidden, so the expressions and movements of the actors, in addition to the way they manipulate the puppets, informs the character.

Tim Lucas Tan and Doc Zorthian

Tim Lucas Tan is the head of the puppet department. He was inspired to get into modelmaking by the Star Wars films, and is a part of the Singapore-based animatronics effects and specialty costume studio Core Crew FX. “A lot of the stuff that was used the make the puppets was cutting-edge technology that’s now the norm,” Tan said. The puppet department is on high alert during the show to ensure everything is shipshape. “This show runs at a particular speed and pace,” Tan noted. “Should anything happen, we need to get it fixed on the side and get it to work.”

Production supervisor Doc Zorthian was the original stage manager for The Lion King on Broadway in 1997 and has been a fixture of the show ever since. “Everything is so unique. Everything is designed so specifically, and yet it’s like a simple stroke,” Zorthian enthused. “You don’t really realise how powerful the details are, and when the details are missing, it loses such an impact.”

Over 20 years on, Zorthian still finds the magic in the routine. “We’ll rehearse it and rehearse it, but that first preview when there’s an audience in the auditorium for the first time, I still get chills,” he said. “There’s an energy in the room and your body just tingles. I’m still trying to figure out what it is, but it’s so electric and so exciting. People really react to it.”

Before The Lion King returns to the big screen in 2019, in the form of a photo-realistic CGI remake directed by Jon Favreau, audiences in Singapore can venture into the Pridelands at the MBS Theatre. The Lion King is now playing until 26 August 2018. Tickets start from $65 (excluding $4 booking fee). Visit https://www.sistic.com.sg/events/lionking0918 for tickets.

Always and for Eva: Evita press call

For inSing

Always and For Eva

inSing goes beyond the balcony of the Casa Rosada at Evita

By Jedd Jong

It’s an understatement to say that Andrew Lloyd Webber has made quite the impact on musical theatre. Evita is one of the impresario’s earlier hits – featuring music by Lloyd Webber and lyrics by Tim Rice, the show opened on the West End in 1978 and on Broadway in 1979. The musical contains such numbers as “Don’t Cry For Me Argentina”, “High Flying Adored”, “On This Night of a Thousand Stars” and “Another Suitcase in Another Hall”. Now, fresh off engagements in Johannesburg and Cape Town in South Africa, the production has arrived in Singapore for the very first time.

inSing was at the press call for Evita on Tuesday, 27 February, at the MasterCard Theatres in Marina Bay Sands Singapore. The show is based on the life of Eva Perón, the Argentinian First Lady from 1946 to 1952 – affectionately referred to as “Evita”.

Eva grew up in the provincial town of Junín, and headed to Buenos Aires to pursue an acting career. She caught the eye of Colonel Juan Perón, who is elected the president of Argentina in 1946. Eva and her husband become polarising figures, attracting both worship and harsh criticism. The musical follows Eva from her teenage years to her death from cancer at the tragically young age of 33 in 1952. This is all narrated by Che, a one-man Greek chorus who is often cynical of Eva and the adoration she attracts.

Evita began life as a rock opera concept album in 1976, and it went on to receive major theatrical award including the Tony and Olivier Awards for Best Musical. Luminaries including Elaine Paige and Patti LuPone have portrayed Eva. During the musical’s 2012 Broadway run, Elena Roger played Eva, opposite Ricky Martin as Che.

In 1996, the musical was adapted into a feature film directed by Alan Parker and starring Madonna, Antonio Banderas and Jonathan Pryce. The film won a Best Original Song Oscar for “You Must Love Me”, which has since been integrated into the stage production.

Evita is directed by Harold “Hal” Prince, the nigh-legendary theatre director who turns 90 this year. The Phantom of the Opera, Sweeney Todd and Cabaret are some of his other credits. “I’ve been working for him for 15 years, and no two days are alike,” Daniel Kutner, associate director to Prince, said. “He is filled with energy, and always thinking, always creative, always looking for the next project. He’s not somebody who rests on his laurels,” Kutner continued, adding that Prince is currently working on two brand new projects.

The cast is led by English actress Emma Kingston as Eva. Kingston’s mother is Argentinian, which gives her an added connection to the material. Kingston was hand-picked by Lloyd Webber and Rice to play Eva. At the press call, we watched Kingston perform three numbers: “What’s New Buenos Aires”, “High Flying Adored” and of course “Don’t Cry for Me Argentina”.

“High Flying Adored” is mostly sung by Che, who is played by South African actor Jonathan Roxmouth. Roxmouth has starred in such shows as The Phantom of the Opera, Beauty and the Beast, West Side Story and Sunset Boulevard.

In Argentina, “Che” is slang for “friend”, somewhat akin to “dude”. The character was not initially intended to be Che Guevara, but director Prince patterned Che after the Argentinian-Cuban revolutionary. Guevara never met Eva or Juan Perón.

“What I’ve found is that you don’t talk at the audience, you talk to them. I get to connect and make eye contact and see people and check in with them throughout the show,” Roxmouth said of the role. “It’s really cool from that point of view because he’s not a standard narrator, he’s a narrator in the show and out of the show at the same time. Once the audience understands that, we have a lot of fun together, and I find that very rewarding.”

“Waltz for Eva and Che”, a number in the second act, is the culmination of the relationship between the First Lady and the narrator. “The audience, you can feel, are almost willing you to touch one another…and we just don’t,” Roxmouth said. He described Eva and Che as “these two incredible forces, like oil and water”, saying that it can be interpreted that Che is Eva’s conscience in the show.

The show also stars Robert Finlayson as Juan Perón and Anton Luitingh (who is also the resident director) as Augustin Magaldi.

Evita has attracted controversy, especially from within Argentina, because it generally depicts Eva in an unflattering light and as a conniving social climber obsessed with glamour and beauty. While it’s never been officially confirmed, it appears that Rice drew primarily from the biography The Woman with the Whip by Mary Main, which was very much anti-Peronist. Main’s book has been accused of overlooking the political and socio-political causes championed by Peronism, instead focusing on the seamier aspects of Eva’s rise to power.

Kutner hopes audiences will come in with an open mind. His take is that Evita is “about how we never truly know who our leaders are. We get the perception of them, we see them on TV, we hear them, but we don’t know who they are.” Kutner pointed out how Eva and Juan Perón were some of the first politicians to become media darlings and who embraced the flashbulbs of the press and the adoration of the public. The show begins with a depiction of Eva’s funeral procession, which snaked through the city of Buenos Aires.

Kutner called the cast “terrific and peerless,” noting how daunting a show it is to sing. “Because of the challenging notes and the range of this score, it can make mincemeat out of you unless you can really navigate it,” Kutner said.

Louis Zurnamer, the musical director and conductor, noted the complexity of the rock opera score, saying “it’s challenging from a historical point of view, it is not an easy musical and not every tune you’re going to sing in the shower tomorrow,” he said. “You know that you’re dealing with something very sophisticated.”

Billed as “powerful, passionate and political”, Evita promises transport audiences in Singapore to Argentina, to witness the heady life and times of a colourful and controversial figure, a woman who was a force to be reckoned with.

Emma Kingston (Eva) and Jonathan Roxmouth (Che)

Evita is produced by Lunchbox Theatrical Productions, Base Entertainment Asia and David Atkins Enterprises in association with David Ian and Peter Toerien and by special arrangement with The Really Useful Group. The show runs in Singapore from 23 February to 18 March 2018, and tickets begin at $55 (excluding $4 booking fee).

Photos by Jedd Jong

Coco Movie Review

For inSing

COCO

Director : Lee Unkrich, Adrian Molina
Voice Cast : Gael García Bernal, Anthony Gonzalez, Benjamin Bratt, Renée Victor
Genre : Animation/Comedy/Musical
Run Time : 109 mins (+22 mins for Olaf’s Frozen Adventure)
Opens : 23 November 2017
Rating : PG

Coco-posterThe dead have never been more alive than in this animated fantasy-comedy-musical. Nobody’s suffering from even the slightest hint of rigor mortis, and the Land of the Dead is filled with dancing and singing. That’s not to say there isn’t drama afoot.

Miguel Rivera (Anthony Gonzalez) is a 12-year-old boy who dreams of being a musician, and who idolises the singer and film star Ernesto de la Cruz (Benjamin Bratt), the most famous musician in the history of Mexico. There’s just one catch: music is forbidden from the Rivera household. This is because Miguel’s great-great-grandmother Mamá Imelda (Alanna Ubach) was married to a musician, who abandoned the family and broke her heart. Miguel’s great-grandmother Coco (Ana Ofelia Murguia), the oldest living member of the Rivera clan, has never quite recovered from this.

On the night of Día de Muertos, the Day of the Dead celebration, the veil between this world and the next is at its thinnest. Miguel accidentally finds himself a visitor in the Land of the Dead where he meets his deceased relatives, who attempt to get Miguel safely home to the land of the living. Miguel befriends the roguish trickster Hector (Gael García Bernal), who says he can help Miguel cross back. It’s a family reunion between the living and the dead, but it’s also a race against time – if Miguel doesn’t make it back by sunrise, he will find himself a permanent resident in this ghostly realm.

Coco-Miguel-Hector-tram

The Mexican tradition of Día de Muertos has figured in popular culture before, notably in the computer game Grim Fandango, the earlier animated film The Book of Life, and in the pre-titles sequence of the Bond movie Spectre. Día de Muertos embodies an uplifting attitude towards death that treats it as a part of life – death is still mourned, but perhaps is not as feared or as a dreaded as in other cultures.

Coco-family-1

Coco does not appear to cherry-pick elements of Mexican culture to bolt on to a generic product. This is a film which is richly authentic and takes sheer delight in being so. While director Unkrich is white and was born and raised in Cleveland, Ohio, Coco does not feel like the work of a curious outsider peering in through the window. The screenplay is credited to Adrian Molina and Matthew Aldrich, and this is a strong, fully-realised story. Molina was promoted to co-director partway through production. The central conceit is clever, the characters are distinctive but not overly gimmicky, and the jaw-dropping twist is sheer masterful storytelling.

This being a Pixar film, the visuals are a joy to behold. The animation team had to rethink how the characters move, since the skeletal denizens of the afterlife do not have the musculature which informs how flesh-and-blood human beings move. The designers have great fun devising the look of the Land of the Dead. It’s colourful and zany, but everything feels guided by rock-solid design principles, and not one detail seems superfluous.

Coco-Miguel-Dante

Directors of photography Matt Aspbury and Danielle Feinberg utilise warm lighting that makes the afterlife appear inviting and festive rather than foreboding, while keeping it otherworldly. The film features a variety of creatures known as Alebrije, which function as spirit guides. Mama Imelda’s Alebrije, a winged jaguar called Pepita, is especially striking. Miguel’s ‘Alebrije’ of sorts is a mangy-but-loveable stray dog named Dante – after Dante’s Inferno.

The voice actors impart believable verve, and are just heightened and theatrical enough without coming off as too over-the-top. Miguel is eminently loveable, and the character’s conflict between following his passion for music and the life his family dictates for him is one that is readily relatable.

Coco-Hector-Miguel-1

The Hector character is a likeable scamp who can fast-talk his way out of any jam, and who ‘knows a guy who knows a guy’. Once Hector is introduced, we think we’ve got him all figured out, since he fits that old archetype to a tee. Bernal lends the character surprising nuance, and as we learn more about him, there’s considerable depth to be found.

Coco-Ernesto-dela-Cruz-Miguel

Bratt has fun as the beloved matinee idol Ernesto de la Cruz. He sings the song “Remember Me”, but for the other songs, Ernesto’s singing voice is provided by Antonio Sol. The mini-mythology of the canon of songs that Ernesto has sung and movies he’s starred in provides valuable texture to the world.

Coco-Miguel-1

As in almost every culture, music figures heavily in Mexican traditions. Coco features songs written by Robert and Kristen Anderson-Lopez of Frozen fame, as well as Germaine Franco and co-screenwriter Molina. The film’s signature song “Remember Me” is a stirring, evocative number and it works as a crucial plot point as well as it does a standalone ballad.

Coco did not just move this reviewer to tears, it made him bawl. There’s power and enveloping warmth to this tale and the visually inventive way in which it’s told. Just as Inside Out was the launchpad for many a family discussion on mental health after watching the movie, Coco is a great way for kids to process death and how it is a part of life. Steeped in a fascinating culture and bringing that culture to mass audiences, Coco is an all-involving celebratory masterpiece.

RATING: 4.5 out of 5 Stars

Jedd Jong

Bringing the hills to life: The Sound of Music press call

For inSing

BRINGING THE HILLS TO LIFE: THE SOUND OF MUSIC PRESS CALL

inSing gets a preview of the legendary musical as it returns to Singapore

By Jedd Jong

The Sound of Music is among the most enduring and iconic stage musicals ever created, and it has returned to Singapore. inSing was at the Marina Bay Sands Theatre to attend the press call for The Sound of Music, where the show last played in 2014.

The Sound of Music is a fictionalisation of The Story of the Trapp Family Singers, the real-life Maria Von Trapp’s autobiography. The story revolves around Maria Rainier, a free-spirited former nun who is hired as the governess to an unyielding Naval captain’s seven children. The children, whom she teaches to sing, eventually warm to Maria, and the family becomes known as a singing group. However, their idyllic existence is threatened by the onset of World War II, and the family must plot their escape from the Nazis, who have ordered the Von Trapps to perform for them.

The team of composer Richard Rodgers and lyricist Oscar Hammerstein II created such memorable songs as “Climb Ev’ry Mountain”, “My Favourite Things”, “Edelweiss” and “Sixteen Going on Seventeen”, many of which have become standards within the showtune genre. The show debuted in 1959 and was adapted into an Oscar-winning film in 1965. The film, starring Julie Andrews and Christopher Plummer and directed by Robert Wise, recently celebrated its 50th anniversary.

This iteration of the show was first staged in 2006 at the London Palladium, produced by Andrew Lloyd Webber. An agreement between Lloyd Webber’s The Really Useful Group and the Rodgers and Hammerstein estates means that this is the only production that is currently granted permission to use the songs that appear in the film version.

Associate director Frank Thompson has been with the show since 2006, and was the Resident Director of The Sound of Music when it was performed at the London Palladium and for its subsequent UK tour. Thompson remarked that while most touring productions of musicals are pared down from the original staging, The Sound of Music seems to have gotten bigger – seven-eight shipping crates are required to transport the show’s equipment, sets, backdrops, props and costumes from country to country.

Carmen Pretorius and Nicholas Maude

“You can’t get anything better than live dialogue and live music and the experience through that tangible medium,” Thompson said, when asked why audiences should come to see the show live. “Sometimes we are so attached to technology that we don’t feel it as much.”

The lead role of Maria is played by South African performer Carmen Pretorius, who previously portrayed the oldest Von Trapp daughter Liesl when the show last came to Singapore. “Artistically, it’s a very big step up,” Pretorius said of her ‘promotion’. “It’s a challenge, it’s exciting and it keeps me on my toes. Liesl was a little bit less challenging. It’s been a very exciting journey and I’ve gotten to know the show very well from two different angles.”

Pretorius described the process of breathing life into the show performance after performance – the show runs eight times a week. “The key for any good actor is to be in the moment. Although a lot of things are set, we do have to play off each other, and that’s what keeps the magic alive.” Pretorius added that it is key to remember that each audience is comprised of completely different people, and many might be seeing Maria melt the Captain’s heart for the first time.

“It’s very easy to melt when you look at Carmen, you just do that,” said Nicholas Maude, who plays Captain Von Trapp.

“It’s very easy to melt when you look at Nick,” Pretorius replied, the actors demonstrating their chemistry.

Being in a touring production of a musical is tough on the body. Pretorius’ secret weapon: ginger. In addition to drinking ginger tea, Pretorius “bites ginger like an apple”. She also swears by Pei Pa Koa, the traditional Chinese throat remedy.

On the children in the cast, Maude remarked ““They’re so professional and it’s inspiring,” adding that he would not have been as confident and professional at that age. “When I was younger, I was gawky and insecure. They’re so good, they’re so talented, and they really give on stage.”

Pretorius agreed, saying that working with the young cast members reminds her of when she was starting out as a theatre performer. “You forget being that little kid going to your first audition and having big dreams about being on stage. You can see that happening on their faces and it reminds you of your own journey; we all relate to that.”

“They’re going to teach me about Snapchat,” Maude quipped.

Left to right: Emily Riddle, Jane Callista, Chloe Choo, Alfie Hodgson, Sophea Pennington, Mateo Fuentes, Zoe Beavon

The role of Liesl is played throughout the tour by Zoe Beavon, but the younger Von Trapp children are cast with local child actors from each city that the tour visits. A total of 18 children share the six roles, and we met some of them at the press call.

Being a part of the production is an educational experience for these budding theatre actors, many of whom are already accomplished despite their age. “We get to learn all the theatre rules and get to meet all these incredible people and professionals,” said Jane Callista, who plays Marta. Callista was a finalist on The Voices Kids Indonesia in 2016.

From left: Jane Callista, Frank Thompson, Chloe Choo

Chloe Choo, who plays Brigitta, is no stranger to the stage. She recently played Small Allison in Pangdemonium’s staging of the musical Fun Home. The 11-year-old Choo is no stranger to The Sound of Music either, having played the role of Gretl in 2014. Thompson joked that when the show returns in 2080, Choo will play Maria.

13-year-old Mateo Fuentes, who plays Friedrich, said that the cast has become “like [his] family”. Being in the show has given him the opportunity “to learn with people who come from all around the world.”

From left: Mateo Fuentes, Sophea Pennington, Alfie Hodgson, Chloe Choo, Jane Callista, Emily Riddle

The Sound of Music was the first musical that Emily Riddle, who plays the littlest Von Trapp child, watch. When asked if she is living her dream, she replied empathically “I am!”

“I think the show is very beautiful and I think it touches many people’s hearts,” Sophea Pennington, who plays Louisa, remarked. Pennington’s family moved from Australia to Singapore four years ago, and she has played several leading roles, including Annie in the Stamford American International School production of the musical. “It really does bring people together,” she said of the show.

Alfie Hodgson, who plays Kurt, said he enjoys the experience of “having a professional job and meeting all the cast”. Hodgson has acted on the MBS Theatre stage before, in 2016’s A Right Rubbish Christmas.

Janelle Visagie

Janelle Visagie reprises the role of the Mother Abbess, which she also played in 2014. Like Pretorius, she is from South Africa, and has performed in multiple productions for the Cape Town Opera, including Madam ButterflyDon Giovanni and Rigoletto. Viasagie laughed heartily when this writer suggested that the Mother Abbess is like Maria’s Yoda. “Carmen and I are really good friends in real life, and I am a little bit older than her, so it makes it a bit easier to go into that role of being a caregiver type,” she said of playing the role of mentor and spiritual guide.

What Viasagie admires most about Singapore might be surprising – it’s the way we manage our water resources. “The way Singapore uses their water, reuse and recycle, it’s not a tourist thing, but for me it’s one of the most amazing things about Singapore, how effective they are. Everything is so efficient and clean,” she said.

The Sound of Music is an Andrew Lloyd Webber, David Ian and The Really Useful Group production, presented by Lunchbox Theatrical Productions, BASE Entertainment Asia, Sliding Doors Entertainment and David Atkins Enterprises. The show runs from 7 November to 2 December 2017 at the MasterCard Theatres in Marina Bay Sands, Sinapore. Ticket prices start from $65 (excluding the $4 booking fee per ticket). Visit www.MarinaBaySands.com/ticketing or www.sistic.com.sg to purchase tickets.

STGCC 2017 Mega Picture Post: Day 2

Here’s the Mega Picture Post for Day 2. I had a little more fun because I had gotten my bearings, but the layout still did throw me for a loop. I spent most of this day hanging out with my friend Shaun, who was dressed as the Joker and stopped for lots of photos with children, none of him he killed – so he didn’t go all the way into character. Please check out Day 1’s Mega Picture Post here.

Jay as Doctor Strange

Shaun as the Joker in the Millennium Falcon

Is the Joker worthy?

Mjolnir may have made its choice, but that doesn’t mean Thor has to approve.

KO!

The Marvel gang seems quite accepting of the Joker.

Eunice as Harley Quinn and Alice as Poison Ivy

Joker gets all the gals

Something the Joker is very used to.

Another Tiny Rey

The reptilian conspiracy is real!

The First Order assembles

Theresa as Velma

Joker and Dany

Spider-Man vs. Doc Ock

Abigail as Wonder Woman

Another Harley and her best friend (or maybe something more)

“Chewie…we’re home”

Alexander as Anakin Skywalker: “Grandson, why?!!?”

All the Tiny Reys!

The Comic Giants panel (From left): C.B. Cebulski, Adi Granov, Art Adams, Frank Cho, Sonny Liew

Don’t breach the quarantine zone!

Cheryl as Black Canary

James C. Mulligan speed-painting

I wonder what that could be

Ah, I see it now

5 minute master piece

ILM Singapore visual effects supervisor Nigel Sumner speaking about the visual effects of Rogue One

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Rejected Scarif Imperial Citadel designs

Rejected Scarif Imperial Citadel designs: hammerhead

Rejected Scarif Imperial Citadel designs: Batman

Rejected Scarif Imperial Citadel designs: Don’t know what this resembles

Viv as Kida and Dom as Milo

Tiny Rey!

Jaylah from Star Trek Beyond

Red Hood and Joker

Hikka as Rapunzel

Joker and Deadpool slapfight!

With the gorgeous Cara Keilani as Miranda Lawson

Jaye as Chell

Fiz as Narrator Core, Neptys as GLaDOS and Jaye as Chell

Life-sized Gladiator Hulk and Thor by Hot Toys

Hot Toys’ Wonder Woman

Hot Toys’ Justice League Batman and Batmobile

Hot Toys’ Justice League Batman

Hot Toys’ Executioner Trooper

Hot Toys’ Kylo Ren

 

Big ol’ group shot to cap off the event

STGCC 2017 Mega Picture Post: Day 1

Here’s the annual instalment of my STGCC Mega Picture Post. This year marks the tenth anniversary of the Singapore Toy, Games and Comics Convention. It’s purported to be bigger and better than previous year – the former, certainly, but I can’t say I agree about the latter. The layout of the show floor did mess with my head and did a number on me. It was tricky to get from one area to the next, and to exit the hall, one had to pass through the gaming area GGXP. The security checks made entering and leaving a hassle, but I acknowledge and appreciate the purpose of those safety measures.

That said, it’s hard not to have fun when being surrounded by various and sundry geekery, and STGCC is the time of year when I get to meet many friends whom I don’t see on the regular. The star of the show definitely was the life-sized instalments built by Belgium’s BCD-VZW studio: the interior of the Millennium Falcon, and Rey’s Speeder. Here are the photo highlights from Day 1. If you can identify any cosplayers I haven’t named, please leave a comment and I’ll be sure to credit them. Thank you, and enjoy!

BCD-VZW chairman/head engineer Stefan Cembolista with his handiwork

The secret autograph panel, which includes the signatures of J. J. Abrams and product designers from Lego and Hasbro.

This is my geeking out face

Hot Toys’ Guardians of the Galaxy Vol. 2 lineup

Hot Toys’ Rocket and Baby Groot

Hot Toys’ Gamora

Hot Toys’ life-sized Baby Groot

Hot Toys’ Star-Lord and Baby Groot

Hot Toys’ Yondu and Baby Groot

Hot Toys’ Drax and his sensitive nipples

Iron Man and the Hulkbuster, aka Veronica

Hot Toys’ Boba Fett, style after his appearance in the Droids animated series.

Hot Toys’ Anakin Skywalker

Hot Toys’ Hoth Princess Leia

Hot Toys’ Grand Moff Tarkin

Hot Toys’ Netflix Punisher

Hot Toys’ Netflix Daredevil

Hot Toys’ armoured Batman

Hot Toys’ Justice League

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Hot Toys’ Justice League Batman and Batmobile

Hot Toys’ Thor: Ragnarok display 

 

 

 

Hot Toys’ Hela. Cate Blanchett is gonna be so much fun in this role.

Hot Toys’ Loki

Hot Toys’ Gladiator Hulk

Hot Toys’ Spider-Man: Homecoming lineup

Hot Toys’ life-sized Spider-Man from Homecoming

Han Solo in the Falcon

The Scavenger astride her speeder

Look what Rey found!

Constable Zuvio wandered over from the deleted scenes corner

Han in the Falcon, in both their primes.

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“Something about this feels so familiar…”

Jack Sparrow and a fellow rouguish scoundrelly Captain

The first of many Tiny Reys!

Beast Kingdom’s life-sized Gladiator Hulk

Beast Kingdom’s life-sized Thor

With Shaun Lu as a Ghostbuster

Shaun and photographer Mezame goofing about with Mezame’s camera pole

Millennium Falcon model kit

Homemade Spidey

Frank Cho live drawing Venom

 

Disney fine artist James C. Mulligan with a print of his Rey piece

Legendary artist Art Adams

XM Studios’ Japanese-inspired Poison Ivy statue

XM Studios’ Japanese-inspired Catwoman statue

XM Studios’ Japanese-inspired Joker prototype

XM Studios’ Japanese-inspired Batman

XM Studios’ Avengers figures

XM Studios’ Magneto prototype

XM Studios’ Boba Fett statue

XM Studios’ epic X-Men vs. Sentinel battle statue

XM Studios’ Pilot Luke on Hoth statue

XM Studios’ Black Widow statue

XM Studios’ Japanese-inspired Bane prototype

XM Studios’ Japanese-inspired Batgirl

XM Studios’ Japanese-inspired Batgirl closeup

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XM Studios’ Venom statue

XM Studios’ Spider-Gwen statue

Hot Toys’ Nolanverse Batmen

Hot Toys’ Jail Cell Joker

Hot Toys’ Joker

Speedy cosplay

Wonder Woman and Dr. Poison cosplay

Anna of Arendelle cosplay

Predator vs. Wolverine statue

1/2 scale TIE Silencer

Kylo Ren and the S. S. Whinypants

It’s Star-Lord, man!

Han Solo wants YOU to join the Rebellion

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*Inquisitive uteeni*

Rebel shipyard diorama

Trench run diorama

Lego diorama

Black Series Rey and Speeder

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Exclusive George Lucas figure

Jabba the Hutt

Neptys’ Robo-Geisha cosplay from Ghost in the Shell. Her mask opened up, I’m bummed I didn’t get to see that

Boba Fett has captured his target

Alvin as Kylo Ren

Tiny Thor battle cry!

Eunice as Poison Ivy

Caetuna as Mulan

Cheryl as Vigilante Felicity Smoak

Ihsan as Green Arrow

Tiny Ollie!

Marvel vs. DC teams forming up

Marvel and DC united

Theresa as Baroness

Star-Lord dancing; Gamora not dancing

Victoria as Poison Ivy

Vic as Poison Ivy holding Poison Ivy

WHITE CHICKS!!!

Dawn as Supergirl. She’s holding Han Solo because Kara’s boss Cat Grant is played by Calista Flockhart, wife of one Harrison Ford.

Tiny Spidey with Spidey statue

Harley Quinn and her best pal

Rocky as Wolverine downing his sorrows

DC Super Hero Girls Katana

Riyuukii as New 52 Harley Quinn

Starfire and Blackfire

SISTER FIGHT!

Katy as Starfire

Christopher as Ron and Samantha as Kim Possible

Dave as King Leonidas, with Wonder Woman

Princess power!

Jay as Sherlock Holmes

Jinko as the Joker

“Grandson, I am disappoint”

“…But I still love you”

This Kabuki cosplayer got to meet David Mack!

DC crew

Newt and Gwen as Percival Graves

Black Panther and Shuri: FOR WAKANDA!

Look at how happy this tiny Jyn Erso is!

Mulan gang with X-23, also a lady who’s good with blades

Somebody scowling on the sketch wall

Teen Titans gang

Oh man there was a Go-Go Yubari

Road to darkness by XM Studios

Deadpool and his buddy

XM Studios’ Sentinel vs. X-Men battle again

Me with friends! From left: Shuan as Ronald McDonald, Jaye as Red from Transistor, and Neptys as Robo-Geisha from Ghost in the Shell

Jaye as Red from Transistor

SZECHUAN. SAUCE.

They are Number One

Shaun sketching the Joker – foreshadowing for Day 2!