The cast of Stalker the Musical playing at Depot Theatre. Photo by Grant Leslie.
A joyously sinister-free offering, this new Australian work has been sneaking up on RPG productions since 2013 and in its first full scale outing is terrific entertainment with brilliant conceptualisation and some mighty performances from its mainly young cast.
The quality of Stalker the Musical begins as you enter the theatre, the black and white newsprint set is exciting to see and full of hidden meanings and spaces for audiences to voyeur during the show. Ads from Omo to Ritz abound and as the cast enters, the theme extends beyond its column inches. They are costumed in an array of grey tones, and the detail is stunning. Silver heels and wing tips to white pearls and black ponytail ribbons, yet never dull, the monochrome extends to the props, with black ice-cream just one of the hidden treats of the mise en scène. Not to mention the lighting which wonderful in its complexity within an astutely restrained palette!
We meet the inhabitants of The Town who are setting up for their night of stalking. ‘We Like to Watch’ is a vibrant opening number which introduces the main players and the cartoonish chaos that ensues when the homogeny of their interactions is threatened. Jay (Levi Burrows) and Ava (Emma Taviani) seem to be drawn to spend more time together than is seemly and that puts them in danger of being sent mysteriously to The Farm. But love finds a way. Taviani and Burrows give us lovers to root for, she is sweet and clever with a killer smile and he is guileless and goofy with his heart on his sleeve, and their vocal blend is just lovely.
The cast of Stalker the Musical playing at Depot Theatre. Photo by Grant Leslie.
The songs in the show have a range of styles that fit neatly into the story. The romantic ballads have strong pathos and ‘A Crack in the Wall’ is a standalone song of power and carry. The big ensemble numbers are very well directed by Kaleigh Wilkie-Smith to be energetic and visually interesting with choreography that deftly allows for individuality of characterisation. And there are some fun characters here. Steph Edmonds as Roxie is a well expressed dibber dobber cynic and Haji Myrteza as Monty is a life affirming, wall hugging, hand holding comic creation. There is certainly a lot of advanced silliness to the show, especially in the adroit theatricality of the scene changes.
In Act Two there is a little dip in the travel of the show as those changes happen more often but, generally , it pelts along and, if the ending is somewhat lacking in character based truth, it is still touching and emotionally rewarding. Musically (Book and Lyrics: Alex Giles), the production is very strong with complex orchestrations and a delightfully unusual pairing of reed and string. In songs such as ‘The Moth & The Flame’ the drums are tightly held under by Conductor Anthony Cutrupi allowing the complexity of the reeds and keyboard to shine and the use of a spinet-like keyboard under the Act Two opening is inspired (Music by Andy Peterson).
Stalker the Musical is a heart-warming and very charming production which takes no prisoners in performances and production. Abandon any stealth and hunt down tickets as it is starting to look like a well-deserved sell-out season.
4 ½ stars ★★★★☆
Stalker the Musical
Creatives:
Book and Lyrics: Alex Giles, Composer: Andy Peterson, Original Concept, Book and Lyrics: David Russell, Director: Kaleigh Wilkie-Smith, Musical Director: Anthony Cutrupi, Choreographer: Zoe Ioannou, Lighting: James Wallis, Sound: Tony Lorenz, Set Design: Simon Greer, and Costumes: Elle Cantor.
Cast
Jay Cloudstreet : Levi Burrows, Ava Derwent: Emma Taviani, The Stranger: Peter Meredith, Henrietta Pleasureberry: Michele Lansdown, Roxie: Steph Edmonds, Percy: Harrison Riley, Monty: Haji Myrteza, Female Player: Melody Beck, and Male Player: Luke Lamond.
16 September – 6 October 2018
Depot Theatre, Marrickville
