Image provided by VCA.
Sometimes the most unlikely of people make the most unlikely of families.
It is that time in a reviewer’s life to raise his hand high and confess that I am prejudiced against music theatre. Some I admit, I really like (Spring Awakening, Rent), others I don’t (far too many to mention). I have confessed this in the past (such as my Rent review), and anyone who knows my taste will generally accept that the ‘break-into-song’ genre is not for me. So it was with such preconceptions that I attended A Little Touch of Chaos with good intentions, but had already secretly began this review in my head before taking my seat.
So now, I will confess again to this unprofessional lack of objectivity, because this new Australian music theatre is, without a doubt, wonderful. With a story that is at once gentle but filled with scope and the perfect alchemy of exceptional writing, music, performance and design, A Little Touch of Chaos is an ambitious feat that hits the target at every turn. So… what has made this cynic start gushing? Well, dear readers:
A modern day fable of the parallel tales of Arthur, a young man suffocated by the trappings by life in a religious sect in the mid 70s and his son, Tom, an agoraphobic sketch artist in 2011, forced to live at home by his condition. James Millar’s exceptional book manages to stay focused and intimate while maintaining an epic feel – similar to Andrew Bovell’s When The Rain Stops Falling as if it was written by Duncan Sheik (minus the ‘rock out’ numbers). Millar is a writer in complete control of his craft – handling tragic and emotionally wrenching scenes that are splashed with humour with the skill of a master. Although the script juxtaposes between time and place, all attention is made to keep simplicity and clarity at the forefront, and never once does the plot feel convoluted. By turns hilarious and poignant, it is some of the finest writing I have heard/read for a long time: cleverly structured, prosaic, observant and entertaining.
Millar (who also co-wrote Love Bites and the intriguing The Hatpin with Peter Rutherford) has stated that the piece is loosely autobiographical and there is a sense, that this story is less being told and more like confided to the audience, like they’re a close friend. Sydney director Iain Sinclair keeps the characters and relationships clear and succinct. The band is tight, revealing Rutherford’s captivating score for all the ingenious touches of subtlety and grandiosity it is worth.
Each song transitions seamlessly from book to music with a near imperceptible smoothness. A personal dislike of mine in musicals, (that probably added to my general disdain for the medium), are the ‘story-stops-singing starts’ motif. The great strength here is that every number grows naturally out of the narrative – like thoughts given to score, with two songs: ‘Music in Another Room’, and ‘Everyone’s Holding a Secret’ being particularly memorable. These songs linger in your mind, on repeat mode, well after the performance has ended.
Across the board, all the performances were strong – a talented and promising ensemble from the VCA Music Theatre Company 2014. However, I also wanted to mention Alex Gibson-Giorgio as (the young and old) Arthur and Keagan Vaskess as (the vulgar bride) Elaine – they were definite standouts. In the leading role, the gifted Henry Brett as the troubled Tom, is a firecracker, with a stunning voice that soars and acting talent to burn, certainly a name to watch in the future.
Visual artist Alexandra Hiller’s simple and stylish design was spacious and captured the essence of Tom’s sketch worked well on its walls – a detail that could be easily missed. The lighting by Tom Willis is satisfactory, concentrating on time and place rather than mood and the need to impose on the performance. This refreshing production implemented by the VCA undergraduate production students (under the mentorship (and keen eye) of the ubiquitous Rachel Fothergill) was tight, fluid and displayed a fresh and shining professionalism. Originally seen at Sidetrack Theatre in 2011, A Little Touch of Chaos is a beautiful, powerful and memorable show in all respects.
So now, do you think I’ve been converted to Music Theatre? Well, if A Little Touch of Chaos is anything to go by – the answer is YES. Definitely yes. Not too be missed.
Rating: 5 out of 5 stars
A Little Touch of Chaos
Book and lyrics by James Millar
Music by Peter Rutherford
Directed by Iain Sinclair
Designed by Alexandra Hiller
Musical direction by Adrian Portelli
Costume design by Rebecca Dunn
Lighting design by Tom Willis
and featuring the VCA Music Theatre Company 2014 and undergraduate production students
Grant Street Theatre, Southbank
www.vca-mcm.unimelb.edu.au
17-26 July
