Boiled down to a boutique-scale presentation, Fiddler on the Roof brims with fresh life, gentle humour and impactful drama.
I have appeared in about 40 productions over the past thirty-three years. Favourite roles include Eugene Fodor and Junior in (separate productions of) Crazy for You, Mr Fox in Mack and Mabel, Max in The Sound of Music, Freddy in My Fair Lady, Julio in Paint Your Wagon, Marcellus in The Music Man and Grantaire in Les Miserables.
I have directed several school productions. I choreographed Urinetown and Little Shop of Horrors for St Michael’s Grammar School, then went on to direct Hot Mikado and the Australian premiere of 13 for St Michael’s. I have since gone on to direct/choreograph The Music Man Jr and Thoroughly Modern Millie Jr for St Michael's.
I review music theatre and opera for Theatre People and the Sunday Herald Sun (Melbourne). I served on the Music Theatre Guild of Victoria Committee for five years as Treasurer and I am currently on the Board of The Opera Studio Melbourne.
I am a keen audience member, having seen 58 shows in six weeks in New York this year, as well as 57 shows during 6 weeks in London/Europe earlier this year.
I hope you enjoy reading the news and reviews at Simon Parris: Man in Chair. I would love to hear your thoughts on the shows covered here so please feel free to leave your comments.
Splendid music is the clear highlight of an unusual and indulgent staging of Tchaikovsky opera The Queen of Spades, the central concept of which wears thin very quickly.
The Royal Ballet combines a contrasting pairs of works to create a well rounded mixed program with Asphodel Meadows / The Two Pigeons.
Succinctly written and brilliantly performed, musical drama Caroline, or Change packs a powerful message.
Streamlined staging and a strong ensemble cast allow Andrew Lloyd Webber’s Aspects of Love to be seen in a favourable light.
It is hard to begrudge the near annual presence of The Royal Opera’s workhorse production of La Traviata when it is lovingly re-staged and splendidly cast as this 2019 opening night performance.
Full of feathers and factoids, hit songs and head dresses, The Cher Show is diverting, if not particularly enlightening, entertainment.
Radical editing and canny creativity have distilled the essence of Merrily We Roll Along, resulting in a slick, involving, densely melodic piece of musical theatre.
A towering achievement, To Kill A Mockingbird comforts with nostalgic charm and crackles with potent relevance, the deft combination of which makes for an unforgettable night at the theatre.
The tempestuous power of Verdi’s magnificent tragedy Otello made for a memorable night at the Met, all the more so with the breakout performance of a substituted singer.