Midlife crises faced by creatives are uncomfortably common. The tale of one faced by Italian film director Guido Contini is currently being performed at the Seymour Centre in Maury Yeston and Arthur Kopit’s Tony Award®-winning musical NINE.
Set in 1960s Italy, the show is based on Federico Fellini’s ‘8 ½’. We witness the death throes of a marriage as Guido’s wife, his mistress and his leading lady turn away from him. He seeks refuge in fantasy and memories of himself at nine kept safe by his mother. Romantic and sexual episodes are juxtaposed with Guido’s Italian Catholic background giving the plot specific context. The cast were challenged to maintain their Italian accents.
Little Triangle’s THE WILD PARTY has all the quality we expect of this emerging musical theatre company but with an added extra. There’s evident hard work in the mounting of the production, energy and commitment, excellent musicality and obvious drive to deliver exciting and interesting work to Sydney audiences. What’s different in this offering is the channelling of all that excellence into a focused theatrically in the movement and in the telling of stories.
And the story at the heart of this 2000 musical, music and lyrics by Michael J LaChiusa and book by George C. Wolfe is an interesting one. Set in the twenties, Queenie is the ultimate flapper, carefree and wild, despite a disillusionment with her boyfriend Burrs. His bad boy was once a magnet, now an increasing worry as his behaviours worsen. Looking to escape, the party to end all parties is called for and a bunch of misfit miscreants assemble for gin and dancing and other assorted abandonments. Continue reading THE WILD PARTY: STYLISH MOVEMENT AND PRODUCTION FROM LITTLE TRIANGLE→
THE WILD PARTY is the next venture for up and coming theatre company Little Triangle. We had the chance to speak with choreographer Madison Lee about the show.
SAG: Little Triangle is going from strength to strength but this is the first time that they’ve had an official choreographer. What drew you to the project?
MADISON: Well as a choreographer I work all over Australia, I’m actually in Melbourne girl, coming up to Sydney for rehearsals. This year I’ve worked in Sydney, Brisbane and Melbourne and I had heard of Little Triangle and I was really impressed with the shows that they were putting on and the name and the reputation they were getting.
A LITTLE CABARET is a fundraiser for Little Triangle’s November production of Michael John LaChiusa & George C. Wolfe’s THE WILD PARTY and its short run at the Sydney Fringe is pretty much sold out. With good reason. There’s a commitment to excellence inside this little company that spills over the footlights in all their work. Staged or simply sung. Here we have seven gorgeous voices performing songs chosen with care to be interesting and unusual. Celebrating the unsung is the publicity tagline and what a great program it turns out to be.
It’s just a lovely night to share with lovers of musical theatre as some songs ooze with familiarity and others are go-home-and-google offerings. Directed by Alexander Andrews and accompanied by Conrad Hamill there are brief introductions “another woman sits at another bar alone” … “ A young wife has a secret.”Continue reading A LITTLE CABARET OF SELDOM HEARD TREASURES→
After presenting critically acclaimed sell-out productions of Sunday in the Park with George & Merrily We Roll Along, and prior to their November production of Michael John LaChiusa & George C. Wolfe’s The Wild Party, Little Triangle will present A LITTLE CABARET with 7 emerging Australian performers this September for 3 nights only as part of the 2018 Sydney Fringe.
After presenting critically acclaimed sell-out productions of SUNDAY IN THE PARK WITH GEORGE [SAG Review] & MERRILY WE ROLL ALONG [SAG Review], Little Triangle will present THE WILD PARTY with emerging Australian performers in November for a strictly limited 2-week season at the Seymour Centre.
Little Triangle’s production of MERRILY WE ROLL ALONG, this expertly directed musical, this exquisite musical gem has a just superb ensemble voice cast, all un-miked. Huge full scale sensational production, with young emerging Australian performers. Every performance is top-notch, in this detailed and atmospheric revival. Little Triangle have created a just pitch-perfect, impeccably acted musical production, in an intimate performance space. Continue reading Little Triangle’s production of MERRILY WE ROLL ALONG→
After debuting with a critically acclaimed sell-out production of SUNDAY IN THE PARK WITH GEORGE, Little Triangle will present
MERRILY WE ROLL ALONG with emerging Australian performers this coming March (7-14th March 2018) for a limited 3-week season as part of The Depot Theatre‘s 2018 line-up.
“It’s our time, breathe it in; worlds to change and worlds to win”
Franklin Shepard, a successful songwriter and movie producer in his late thirties, reviews his life, both professional and personal, especially his relationships with his best friends, Mary Flynn and Charley Kringas (his song-writing collaborator), and his two wives, Beth and Gussie.
The action moves backward in time from 1976 to 1957, from the disappointments of adulthood, to the hopeful idealism of youth.
MERRILY WE ROLL ALONG has been ‘long regarded as one of the beautiful and damned misfits of the Sondheim canon’ and
yet remains ‘emotionally resonant’, bringing out the ‘sharpness in the showbiz satire’ following this ‘friendship under siege’
(Ben Brantley, The New York Times).
Sydney Arts Guide reviewed Little Triangle’s first production in 2017.
The two year process has not been easy. Relationships are strained and the pinpoint vision of the eponymous artist has blurred. Yet he creates, before our eyes, his masterpiece. A Sunday Afternoon on the Island of La Grande Jatte arrives fully realised as the first act finale of Stephen Sondheim and James Lapine’s SUNDAY IN THE PARK WITH GEORGE.
When I saw the original version on Broadway in 1984 my heart stopped at this sequence. Georges Seurat’s painting flew in as a scrim to be magically framed by staging. It was breathtaking and transformative. I’m not the only one who reveres the show either. A quick search on YouTube shows how many people still engage with and comment on those grainy videos of the original.
So, how do you reinvent a legend? If Sondheim can seamlessly transport one art form to another then surely an up-and-coming Theatre Company like Little Triangle can mount a fully realised reimagining even on an odd shaped stage in a revamped military shed on reclaimed swampland with a rich indigenous and community heritage as part of the Sydney Fringe. They sure can! And the painting is created with as much power and integrity as that seminal production.