An Evening with Silvie Paladino

The Basement – The Arts Centre, Gold Coast

Thursday 31^st October, 2013

On Friday evening, September 25^th, 1995, Kirstin, one of my longest and dearest friends and I, sat in the front box on the OP side of the historic Capitol Theatre in Sydney to witness the magic that was the original Australian touring production of Miss Saigon. That extraordinary tale of love, loss and sacrifice had shaken us both to the very core. There clearly was not going to be enough tissues in Kirstin’s clutch-purse to see us both through to the story’s dramatic climax. 

By the middle of Act II we’d each imbibed a second glass of sparkling Chardonnay and were already very red-eyed and up to our ankles in soggy Kleenex … as the characters of Kim and Ellen (Chris’ two “wives”) meet for the first time in the hotel room. As the devastated Kim hurriedly departs, Ellen crosses down stage right (directly under our box seats) and begins to sing the emotive aria, Now That I’ve Seen Her.

Kirstin and I were already at the end of our emotional wits’ tether – we were down to our last Kleenex. Then, as if it were pre-ordained, Ellen glanced upward and made eye contact with that weeping couple in the box. Us! For the next three minutes it was like it were just the three of us in the room as that most stunning performer sang her heart-breaking song (seemingly) just to Kirstin and me. We were in awe - tears quite literally streamed down our cheeks. The performer in question was Silvie Paladino and to this day, that extraordinary moment remains one of the most powerful in all my 40-odd years of sitting in darkened theatres.

Fast-forward 18 years to the Arts Centre, Gold Coast and Kirstin (having flown in especially from her home in NSW) and I sat again in the dark, as Ms Paladino took to the stage in her intimate, one-woman cabaret. Suffice to say, her opening note made us gasp with anticipation and for the next two hours we were not to be disappointed.

Promoted by Matt Ward Entertainment in association with the Arts Centre, Gold Coast this gratifying occasion was the last in a highly acclaimed season of Greenroom Project events for 2013, which included not only the monthly showcase of inspiring local talent (a programme with which I am very proud to be associated) it brought us intimate encounters with such Aussie theatre icons as Amanda Harrison, Marina Prior and Silvie Paladino.

Some may call me cynical, but I regularly question the open candour with which the media and alleged “celebrity” judges rave about young artists on TV “talent shows”. Have they not heard the voices of the three ladies mentioned above? Have they never seen them perform? Have they never attended one of their cabarets?

This is the purity of the human voice at its most extraordinary. The strength. The delicacy. The emotion. The humour. As I have mentioned in my columns before – I’ve worked with some of the World’s true legends – Oscar winners, Emmy winners … and even the odd Gold Logie winner! (Sorry Bert, I couldn’t resist!) Yet here, in the Arts Centre Basement, I found myself truly in the presence of greatness.

You will go a long way to hear a more finely tuned “instrument” and to see it used to such perfection. Ably accompanied on the grand piano by Maestro Mark Gogoll, Silvie Paladino effortlessly transcended from the big Broadway belts, to the finest and most sincere of numbers. She performed classics from her days (in two different roles) in Les Miz, Cats and Chess as well as many of her personal favourites, including a special tribute to her own idol, Barbara Streisand.

Glenn T, Silvie Paladino
& Kirstin Knight (2013)

How lucky are we to have the opportunity to see and enjoy such great talent here on the Gold Coast. As we develop our region's facilities and expertise in anticipation of the 2018 Commonwealth Games, lets ensure the Arts are not left behind. Lets embrace such theatrical events in the future. I can say with certainty, we won't be disappointed.

It’s not often that I find myself loitering behind after the bar has closed and the “ugly lights” have come on … but Kirstin had travelled so far. It only seemed right to stay around for a photo!

Glenn T.

Phantom of the Opera

Spotlight Theatre, Ashmore

25^th October 2013

 

Melanie Smart & Brad Kendrick
as Christine & Raoul

At the final Greenroom Project for 2013 at the Arts Centre, Gold Coast recently, a nervous principal cast of the Spotlight Theatre’s production of Phantom of the Opera took to the stage to perform one of the show’s most complex numbers. Nervous not only because they were only a few weeks into rehearsals but because Australian theatre legend, Marina Prior was in the Audience. Ms Prior was, of course, the original Christine in the professional premiere of Phantom in Melbourne some 23 years ago.

Jump forward a month or so and the Gold Coast’s first community production of the Andrew Lloyd-Webber / Charles Hart / Richard Stilgoe classic opened at the Spotlight Theatre in Ashmore on Friday evening last. It’s a big ask – it’s an enormously complex show involving numerous dramatic scene changes, a vast collection of intricate costumes, tricky special effects and some very demanding vocal work. Director Tony Alcock has done his best to simplify a very demanding script and adapt it for a community stage with no fly tower and very limited wing space. Performances are, on the whole, strong and the ensemble has been used sparingly and effectively. The decision to perform the entire show to professionally recorded backing tracks sets a high musical standard – one that the cast rarely fail to equal.

However, before I move onto the lead cast, I must make a special mention of Kylie Loveday in the supporting role of Meg Giry, the young ballet dancer friend of Christine. Ms Loveday is a natural on stage - her voice so pure and clear. I’d love to have heard more from her. Likewise, the ballet ensemble, choreographed by Jessica Papst, is tightly rehearsed and delightful to watch.

In the challenging role of Christine Daaé is Melanie Smart. Ms Smart carries this taxing role with great courage, her operatically trained voice seems faultless and her grasp of the drama is apparent but not overplayed. Opposite her is Brad Kendrick as Raoul – Le Vicompte de Chagny. Resplendent in his tails, Mr Kendrick is vocally strong and provides a convincing “handsome lead” in this tragic love tryst. Unfortunately, in the title role of The Phantom (Erik, the Opera Ghost) Rohan Smith struggles vocally in places and appears to play the tormented Phantom a little too brutally and not so much as the anguished, romantic recluse that I would expect, Erik to be.

Rohan Smith
as the Phantom of the Opera

The costumes (by a vast team of nimble Spotlight seamstresses) are extraordinary – a triumph of creativity and talent. It goes to show that a little imagination (and a lot of clever handiwork) can overcome a limited budget every time. Sadly the Set department didn’t seem to enjoy such “creative imagination”. While the concept behind the simple set (comprising of multiple pieces moved around to form the different areas of the Opera Garnier) is a wise one considering the limitations of the tight stage, the simplistic construction, wobbly stairs and uninspired finishing lets it down. It’s all just a bit bland and too dark for my liking. 

This is after all, one of the World’s most opulent buildings – a lavish Second Empire blend of Neo-Renaissance and Neo-Baroque architecture. I’m afraid a handful of spray-painted paper doilies just doesn’t cut it.

And then there’s the chandelier: arguably one of the lead players in this show and certainly one of the most memorable moments in all musical theatre history – the “falling chandelier”. I’m not sure quite what happened – maybe it was an unfortunate first night technical failure. A grand chandelier did reveal itself in the opening auction scene but failed to make its dramatic return at the end of Act I. A scream, a loud audio effect of breaking glass and a blackout took its place.

Other effects work well – the use of multiple levels is interesting and the magical disappearance of the Phantom at the show’s climax is cleverly staged. As I said at the start, this is a damn hard show to mount – many community groups would not be brave enough to even consider it. My hat’s off Spotlight for attempting the near-impossible; for biting off more than they can chew and then chewing like hell … and for providing yet another enjoyable night at the theatre.

Glenn T

www.spotlighttheatre.com.au