By Laura Charlton

Watching amateur theatre is always a pleasure, but there’s an extra level of excitement when the work is brand-new, original, and being staged for the first time. The University of Melbourne Musical Theatre Association 2021 Sitzprobe was a showcase of just that — excerpts of original musicals written, directed, and performed by students. The five musicals spanned a range of themes, genres, and tones, making the evening an impressive testament to the talent of UMMTA’s members.  

The Scarlet Sun

The first musical of the night, written and directed by Ethan Francis-D’Amour, was a campy murder-mystery entitled The Scarlet Sun, set in a 1970s hotel. With some clear nods to Cluedo in characters named Florence Gold, Elias Jade, and Adrian Scarlet, the musical’s playful tone was complimented by its big numbers and archetypal characters. It was a vastly traditional musical but performed in a very self-aware manner. The musical numbers consisted of two duets and a solo, which, while relatively well-done, didn’t allow the excerpts to realise the potential for dynamic, ensemble work in a musical with this kind of conflict-driven premise. Vocal performances were good and the music was very well-done, but so much of what makes a musical is in the movement and dynamism. If this production is indeed reaching for camp, more movement direction to combat stiffness onstage would certainly go far in elevating it.

Icarus and the Falling Birds

Co-written by Gaden Sousa and Torsten Strokirch, the former directing and the latter acting as musical director, Icarus and the Falling Birds deconstructed the stage, opening up the orchestra to reveal a piano and a single cellist. With a cast made up of a central Icarus, played with wide-eyed wonder by Lily Infantino, and a flock of shapeshifting birds in theatre blacks, this musical showcased some stunning ensemble work and genuinely beautiful music. With a delicate, eerie air, it spun a tale of climate change which focused on the disintegration of a family. The decision to keep production minimal was an intelligent one, as it allowed the story to take centre stage, complimented by the haunting harmonies and impressive vocals from the cast. While sometimes the moral of the story lost its subtlety and became a little preachy — most notably in the Angler’s song towards the end — this musical overall was an exciting, moving production with a unique creative approach.

It Never was a Phase, Kid.

Writer Alex Langdon and director Harry Tibballs transported the audience back to the late 2000s with their nostalgic production It Never was a Phase, Kid, following teenage Blair (Luisa D’Intini) as she struggles with first-time drinking, house parties, and a crush on her best friend, Ellie (Alice Schilpalius). This was a heart-warming production which I’m sure many young, queer people in the audience (myself included) saw themselves in. The musical numbers were cheesy and dramatic, evoking the youthful earnestness of the characters, particularly Blair’s ode to Ellie. The arrival of drunk teenage boys to the house party added both energy and suspense — the moment where one of the boys asks two of the girls to kiss was played so well it made my skin crawl. Ellie’s number at the end, where she psychs herself up for Seven Minutes in Heaven, despite her secret (and, unknown to her, reciprocated) love for Blair, was incredibly dramatic, and rightfully so. Despite some forced-sounding dialogue, littered with a touch too many swear words, this production was an authentic representation of the epic highs and lows of high-school anxieties.

The Dark Web

Naturally, it’s expected that works of theatre emerging from the pandemic will likely address the pandemic, and The Dark Web delivered on that. Written and directed by Ariella Gordon, this charming comedy explored the quarantine adventures of Julie (Marchella Rusciano-Barrow), who unknowingly agrees to bake for a drug-ring. A highlight of this production was the incredibly organic feeling to the music, which would often begin onstage, with the orchestra joining in with the cast. One saxophonist even burst onstage for a solo. This playfulness between onstage and offstage was absolutely delightful to watch and gave the musical a really cohesive nature. The decision to have one of the songs be a reprise rather than an additional original song felt like a lost opportunity, especially considering how strong the cast were, with some brilliant comedic performances from the three of them. Ultimately, however, this musical was vastly entertaining and very well-performed, with plenty of laugh-out-loud moments.  

Madame

Ending the night with the most extensive production, writer Lachlan Boldt and director Erica Moffat’s Madame was based off the true story of a German-immigrant-turned-brothel-owner Caroline, otherwise known as Madame Brussels. Far from being a one-woman show, this production utilised some great ensemble work in the opening scene, introducing us to the uneasy alliance between the sex workers and the men who frequent their service. As Caroline, Olive Cullen had a commanding stage presence and an outstanding vocal performance, complimented nicely by her dedicated ensemble of employees, and a sweet and very funny duet with her suitor Alfred (Benji Arndt). Part of this production’s ethos was to take a firm stance on the idea that sex work is real work, which was encouraging. The ladies sang passionately about how not only was it a better alternative than being on the streets, but also that it was simply work they enjoyed. With humour, energy, and vivacity, this production was engaging without being anachronistic, drawing its modern audience into the life of a real Melbournian historical figure.

Every student should be commended for their incredible work as part of Sitzprobe, from actors to creative teams to the orchestra. It was an incredibly enjoyable night showcasing the bright future of musical theatre in Melbourne.