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It’s a beloved series of books that’s been part of lives of many young Australians. It’s one of the most hotly anticipated releases in Australian film ever. And, when it comes down ti it, Tomorrow When the War Began is a truly awesome film.

Following the lives of eight teenagers who are on holiday in the Australian bush when the country is invaded by an unknown hostile army, the film is remarkably true to the opening novel of John Marsden’s acclaimed and highly successful series.

Caitlin Stasey is wonderfully strong as heroine and narrator Ellie Lynton, bringing a self command to the role that is sure to leave diehard fans of the novels satisfied and cry out for more. While her rather clipped Australian English seems slightly out of place in the country town of Wirrawee, it is sure to make her more accessible to filmgoers outside of Australia.

Lincoln Lewis and Rachel Hurd-Wood have a fantastic chemistry as Kevin and Corrie, playing off the subtleties of their relationship to be a believably tumultuous teenage couple. Lewis in particular brings a sweet sensitivity to the role of die-hard coward, making the moments of bravery among the most powerful in the film.

Possibly the most poignant performances in the film is that of Chris Pang, as reclusive Lee, who manages to steal several scenes without saying a word. The iron self-control that he shows alongside an admirable passion makes this one of the most restrained and moving performances I’ve seen from a young actor in a long time.

Even in a movie this dark and bloody, a healthy amount of comedy worms its way to the fore often through Andy Ryan, whose quirky, very Australian sense of humour and wonderfully comic timing bring a freshness and joy to a film that might otherwise threaten to overwhelm an audience with it’s dark subject matter. His description of his experience of the war beginning is blackly funnyand must be seen to be truly appreciated.

Of course, all of this would have been impossible without writer and director Stuart Beattie, of Australia and Pirates of the Carribean: The Curse of the Black Pearl fame. A self-proclaimed fan of the novels, Beattie says that he “made a movie that he would like to watch as a fan, and hoped that other fans would like it too.” Indeed, his devotion ti the film shines through the script, along with a puckish sense of humour that leaves his audience groaning (but in a good way).

Working closely with the cast to build a strong sense of community between them, he has taken a group of largely unknown and mostly Australian young actors and created at east a few unstoppable forces that should take the Australian film scene by storm – and created a stunning blend of Australian comedy and Hollywood blockbuster along the way.

Tomorrow When the War Began opens across Australia on September 2nd.

A Song to Sing, O!
Gilbert and Sullivan Opera Victoria
Melba Hall
June 21 2008

Set in a dressing room of the iconic Savoy Theatre, Melvyn Morrow’s A Song To Sing, O! charts the career of George Grossmith, probably Gilbert and Sullivan’s most famous performer. Along the way, audiences are treated to Gilbert and Sullivan classics (often those of the characters that Grossmith created) and Grossmith originals spanning his 12 year career at the Savoy.

Although much of the show is a celebration of Gilbert and Sullivan’s music (as well as an insight into the lives of the men and women who made their shows what they are today) the true joy of the show comes in Morrow’s writing between songs. Grossmith’s character is clever and witty, full of anecdotes and G&S quotes, tripping from his tongue like the words of his signature patter songs.

Ron Pidcock takes the role of Grossmith in his stride, attacking the words with verve and a comfortable familiarity. The role is highly challenging, with more than a dozen songs over a variety of characters, and no respite from the stage aside from the interval. Pidcock’s energy never flags, remaining bouncy and energetic ’til the last.

It is obvious that the show has been adapted by the writer from a one-man show, as the vast majority of the dialogue (or, rather, monologue) is taken by Grossmith, with only occasional interjections from supporting characters, to further the story, provide a face for characters, or act out the musical interludes. The supporting cast play their characters well, (often changing from one to another in a short space of time) and provide colour and amusement throughout the show.

As I have come to expect from the Gilbert and Sullivan Society, set dressing and costuming was superb, with the stage of Melba Hall being transformed into both a dressing room and the stage of the Savoy theatre, costume pieces cunningly concealed around the set.

As much as A Song To Sing, O! is a celebration of Gilbert and Sullivan’s musical genius, it is the recognition of Grossmith’s personality and talent in perfecting the roles that makes it a hit. With a range of G&S standars and original music, it is enjoyable, fun – and just a little bit silly.

Ella, Marilyn, Marlene and Me
The Butterfly Club
26 June 2008

Ella, Marilyn, Marlene and Me tells the story of Abigail Stern, a young Brisbane girl who dreams of being a diva. Plagued by a healthy case of the ‘what ifs,’ she enlists the aid of a genie in a hairbrush to achieve her goals.

Although lighter on music and heavier on plotline than many cabaret shows of recent times, Ella, Marilyn, Marlene and Me is one of the most polished shows I have seen. Incorporating artful prerecorded backings and a series of costume changes that will make your head spin, the show blends music and storyline well. Songs chosen are well-suited to the show, and are built into the dialogue seamlessly.

Mellissa Western is brilliant as the retiring Abigail, attacking the often difficult musical material with verve, musicality and an unexpected vocal talent. Slipping effortlessly from character to character (portraying , at times, Ella Fitzgerald, Malrlene Dietrich and Marilyn Monroe), she keeps the audience interested and involved with the storyline.

The energy continues right up until the final few minutes of the show, when a slight dip in energy and polish was seen, leaving some audience members a little unsatisfied. This may have been due to the sudden shift out of character during the final song, Sinatra’s classic That’s Life, which was nonetheless impeccably performed.

A sparkling charisma and an exceptional theatrical and vocal talent make Mellissa Western a pleasure to watch. Coupled with a highly polished performance, Ella, Marlene, Marilyn and Me is an exciting and highly enjoyable evening. I wish Mellissa luck at her next stop – the Edinburgh Fringe Festival.

Insane In London
Whimsical Tricycle
The Butterfly Club
26 June 2008

Consisting of husband and wife team Michelle Wilson and Kieren Butler, Whimsical Tricycle bring a mix of music, personal insight and comedy to the stage in Insane in London. A series of songs written by Kieren, the show blends their various talents in songwriting, singing, violin and guitar.

From the opening moment of the show, it is clear that a night of polished, detached professionalism is not going to ensue. Kieren and Michelle are both highly charismatic, emotionally engaged with their music and with their audience, and so the show becomes far less a staged concert and more a personal recital, as if in someone’s front room. Their chemistry is blindingly obvious, and the secret smiles shared on stage are a blatant sign of two people committed to working and spending their lives together.

The personal, unplugged format works well with the pair, with each song given a context in their lives, loves and misadventures, as jokes about their life together (and apart) abound. Often, conversation jets off tangentially, with stories of Heathrow detention centres and family crises entering the mix.

As one of Whimsical Tricycle’s first acoustic performances, this staging of Insane in London provides some interesting challenges, most notably the difference in balance between Kieren’s voice and Michelle’s violin. The violin often becomes another voice in the mix, not relegated to an accompaniment role, and can overpower Kieren’s lyrical and melodic talent. That said, Muddle In A Maze and Glory and Love (txt msg song) contain two of the most beautiful pieces of countermelodic writing that I have heard in a live concert, with violin and voice taking in turns to shine and show off.

With good music, good company and good chemistry, Insane In London is almost a recipe for a good night.

Model Behaviour
The Butterfly Club
3 July 2008

Billed as a ‘satirical look at the collision of pop-culture and global issues,’ Model Behaviour intends to giva a fresh, funny take on the world from the perspective of two members of that most narcissistic of professions – the global supermodel. Hosted by Samantifa and Wilomi, the show centres around these characters’ attitudes towards life, essentially summed up by one of their favourite phrases: ‘We are better than you.’

Unfortunately, the character development seems to stop at this idea. Rather than being the narcissistic characters that people ‘love to hate,’ they achieve a sort of bored, self-indulgent hatred for their audience. Without enjoyment or mutual respect, and with sufficient amounts of offense, parts of their audience is left alienated and disconnected.

That said, Samantha D’Rosario’s character, Samantifa, is nicely understated and subtle, relying far more on witty commentary than her ‘associate.’ With good delivery, a promising sense of timing and an attractive charisma, I will look forward to seing her in the future.

It is a shame that these two quite obviously passionate and rather talented individuals have produced a show that I found so unnecessary and uncomfortable. The concept is (although unclear) quite strong, and there is some very good and clever material throughout. I hope that I will be able to see what it could become with further direction and development.

Just A Broadway Bogan
The Butterfly Club
3 July 2008

Can of VB in one hand, Steve Judkins bounds onto the stage in Just A Broadway Bogan, a relaxed and personal look at his carer over the last 20-odd years. Since leaving Australia eight years ago to work on London’s West End, followed by the stages of Las Vegas, Steve Judkins has amassed an impressive career history, all of which is fair game for his sharp wit.

Over the course of the show, Steve renders some of his favourite Broadway tunes, including classics from shows like Oklahoma and modern hits from Wicked and The Rocky Horror Show. Throughout, he shares a carton of beer and a collection of anecdotes, with personal insights into the lives of some of the stars whith whom he’s worked, including Dannii Minogue, Debbie Reynolds and Richard O’Brien.

With Musical Direction by his friend Nicholas McMahon, the show is a great showcase for Steve’s impressive vocal talent. Songs are mainly in the musical theatre genre and are presented in a variety of ways, including a couple in a refreshing Jazz-Blues style. With a smattering of non-broadway music (including a wonderfully adult country and western number, and the Aussie anthem Up There, Cazaly), the show is fun for all, broadway fans or not.

With a natural command of the stage (born of spending so much of his life on it), Steve Judkins embodies the larrikin spirit so often associated with Australia. A stunning voice, comedic delivery and down-to-earth manner combine to make Just a Broadway Bogan a fun – if not classy – night of theatre.

All My Sleep And Waking
La Mama Theatre
9 July 2008

Following the story of a family watching their father die of cancer, All My Sleep And Waking is an in-depth look at what it means to be a carer for someone in the later stages of their life.