And the performance surfs ambivalence in a way that keeps the balance of sympathy even, while leaving the emotional terrain uncanny and treacherous. Woodbridge could tighten the screws in climactic scenes, but you only notice because the arc is precise, disciplined.
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Unearned emotion might be Evan’s crime, but the actor’s biggest challenge is to stop the anxious teen from spontaneously combusting into sentiment.
As Zoe, Laga’aia is just as striking as Woodbridge’s Evan, from tender love ballads to musical and dramatic turbulence in scenes with her grieving family. Comic relief is provided by Evan’s grudging “family friend” Jared (Jacob Rozario) and bouncy super-nerd Alana (Carmel Rodrigues).
The movie left me totally cold, and I was surprised to find Dear Evan Hansen so touching, dramatically foot-sure and melodically splendid live.
Reviewed by Cameron Woodhead
DANCE
The Nutcracker ★★★
Hamer Hall, Southbank, until December 20
In a perfect world, every performance of The Nutcracker would luxuriate in the accompaniment of a live orchestra. It is, after all, the music of Tchaikovsky more than the story or the dance vocabulary that has made this ballet such an outsized cultural landmark.
The Nutcracker is a cultural landmark.Credit: En Pointe Productions
Of course, this is not a perfect world. Orchestras are expensive. And there is currently, all around Australia, a growing appetite for affordable but still high-quality ballet productions. So, concessions must be made – good dancers with canned music.
This new BIG Live production suffers somewhat from its underpowered soundtrack yet manages to sparkle in its own understated way. It doesn’t make a great impact as a theatrical spectacle – lavish sets are also expensive – but the dancing is more than polished.
The company itself is quite interesting. It was founded during the pandemic in Brisbane and has since staged a series of well received gala performances featuring local dancers and international guests. They’re now expanding into the world of storybook ballet.
The core group of dancers is strong. Emilia Bignami as Clara and Joel Burke as the soldier are a good pair, projecting optimism and energy. Abbey Hansen plays a poised Sugar Plum Fairy with solid technique, well-supported by Jonathon Carmichael.
The core group of dancers in this production of The Nutcracker is strong.Credit: En Pointe Productions
The first act, which sets up the enchanted nutcracker story, is astutely managed given the resources at hand. The company fills the stage with the hustle and bustle of Christmas Eve, with a standout performance by the young Charlie Duwner as the brattish Fritz.
Mia Zanardo brings a contemporary and slightly eerie vibe into her role a living doll. It’s an off-beat interpretation that underscores the link between ETA Hoffmann’s nutcracker tale and 21st-century stories of dancing toys that come to life.
In the second half of the show, the ensemble takes us to the Land of Sweets. The group dances of snowflakes and flowers are well-executed, filling the stage with super saccharine visions of sequined daintiness.
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The second act also features showpieces by international guest artists. The pliable American dancer and actress Juliet Doherty adds glamour in the Arabian dance, with Alexander Taber providing a reliable scaffold.
And Ervin Zagidullin throws himself into the Russian dance with a vigorous, athletic and always grinning performance.
I also appreciated his extemporised efforts to rouse the rather subdued audience, to shake them out of their nostalgic dream and bring them back to the here and now of bravura flips and toe touches.
Reviewed by Andrew Fuhrmann
