“What’s your damage?”
One of the many endlessly quotable lines spouted by Winona Ryder’s Veronica and co in Michael Lehmann’s jet-back comedy, Heathers (1989), it’s also the least likely to get you fired from work. The one about the chainsaw? Not so much…
Both explosive utterances make it to the delightfully diabolical stage adaptation, Heathers the Musical. With a book, music and lyrics from the Legally Blonde the Musical team-up of Laurence O’Keefe and Kevin Murphy, it follows an unending parade of non-musical films adapted into song-and-dance stage versions, including Back to the Future, 9 to 5, Groundhog Day, Cruel Intentions, Pretty Woman and Mrs Doubtfire.
Are we going to prom or to hell with this take?
Directed by Andy Fickman with musical direction from Martine Wengrow, Heathers the Musical may be cheesier than the goofy yet undeniably brutal movie, but the slushy-driven “teen-angst bullshit” spirit of the Westerberg High cohort is still present and incorrect. Far more so than, say, the recent jukebox tone-down of far bleaker film, Saturday Night Fever.
It really works, though costume designer David Shields’ popping Veronica in blue over black, is a step too far, copied and pasted from a million teen films, notably Allison in The Breakfast Club. Shields’ school set design is also rather perfunctory, as is Ben Cracknell’s basic lighting, but thank goodness the ensemble ably distracts.Â
How are those teenagers who want to be treated like human beings?
Leading the...
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.”
