We could have danced all night when we heard the news that one of the most beloved musicals of all time is heading back to Melbourne. That's right, a new production of My Fair Lady opens at the Arts Centre Melbourneâs Ian Potter State Theatre this November, celebrating 70 years since its Broadway debut.
Staged by Opera Australia and John Frost for Crossroads Live, the revival marks 70 years since Alan Jay Lerner and Frederick Lowe first brought their adaptation of Pygmalion to the stage, a show that has since become shorthand for musical theatre's golden age.
Should you be in need of a refresher, My Fair Lady follows Cockney flower seller Eliza Doolittle, who is plucked from the mean streets of Covent Garden and transformed into a 'lady' by the exacting (and often exasperating) Professor Henry Higgins. It's a time-tested story of class identity and transformation, carried by some of the most recognisable tunes in musical theatre, such as 'Wouldn't it be Loverly?', 'I Could Have Danced All Night' and 'Get Me to the Church on Time'.
Running from November 14 to December 13, the upcoming production is based on the lavish 2016 revival, directed by the one and only Julie Andrews, who famously took on the role of Eliza Doolittle at just 20. It will arrive in Melbourne hot on the heels of a run at Sydney Opera House, and will be the first major musical to grace the Ian Potter State Theatre following its huge refurbishment.
The casting for My Fair Lady will see both theatre...
This year marks Victorian Opera’s tenth anniversary, and so far, the company has offered highly successful, innovative productions alongside more traditional pieces featuring world-class performers. The VO's 2016 season – launched by artistic director Richard Mills – branches even further out into unfamiliar territory, and opera enthusiasts and lovers of the performing arts have plenty of reasons to get excited.
‘Different dreams’ was the theme of the launch, for good reason: the first production of the year will be Voyage to the Moon (Feb 15-19) which will see director Michael Gow blend Baroque operas into an entertaining pastiche, featuring respected Australian soprano Emma Matthews and leading mezzo Sally-Anne Russell.
A highlight is sure to be Banquet of Secrets (March 1-5), created by Australian author, screenwriter, comedian and producer Steve Vizard and celebrated composer Paul Grabowsky in tune with the Melbourne Food and Wine Festival. The show – starring the brilliant Antoinette Halloran, who stole the show in the VO’s recent production of Sweeney Todd – will see four friends sharing a meal live on stage (created by chef Philippe Mouchel) and swapping secrets.
Anyone who encountered the divine voice of Jessica Pratt in the VO’s staging of I Puritaniseveral months ago would need no convincing to see Lucia di Lammermoor (April 12-21), in which she’ll be returning from Europe’s premier opera houses to sing her defining role.
Earlier this year, the Victorian Opera filled the Palais Theatre with Wagner’s dramatic Flying Dutchman, a benchmark work made contemporary with immersive 3D technology. The VO will follow up on this with a production of Laughter and Tears (Aug 13-18), created with Circus Oz with strong elements of Commedia dell’Arte, directed by Olivier Award-winning director Emil Wolk.
3D technology will appear again in 2016, with the Australian premiere of the musical Four Saint in Three Acts (Sep 30-Oct 1) by Virgil Thomson and Gertrude Stein, performed 82 years after it premiered in Broadway. Staged as a youth opera, the piece will tell the story of Spanish saints in the 16th century. Fifty special guests will also have the opportunity to have dinner with ‘Gertrude Stein’ and her muse Toklas – brought to life by Australian arts innovator Robyn Archer and soprano Merlyn Quaife.
Artistic director Richard Mills has written a new opera for children – The Pied Piper (Jul 28-29)– which will be the next touring project after the success of this year’s Remembrance and 2013’s The Magic Pudding: the Opera. Families are also invited to a retelling of Cinderella (Jul 16).
Says Richard Mills: “2016, a year of different dreams, new operas from old music, new work on traditional themes, gastronomic subjects, evenings of musical nonsense assisted by cutting-edge technologies, blood, murder, laughter and tears: all the ingredients that give our art form a grand and rich power.”
