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.
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.
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.
On paper, the blue chip title, solid production values and enthusiastic young cast should be enough to make Clueless the Musical a hit, yet the new off-Broadway musical is missing the ever […]
A lovingly crafted explosion of good will and hilarity, The Prom holds it place alongside the great musical comedies of the new millennium.
An extraordinary cast and an intelligent staging combine for a wonderful season of Adriana Lecouvreur at the Met.
A slender scenario in search of a storyline, new musical The Band at least has a solid gold score, utilising the extensive pop catalogue of superstar ‘90s boy band Take That.
Iconic modern dance favourite Matthew Bourne’s Swan Lake makes a welcome return in a freshly re-polished staging.
Sweeping in scope, yet intimate and highly personal in detail, Matthew Lopez’s masterwork The Inheritance balances humour, history and heartbreak to haunting effect.
Conceived as an emotional memory play, John Neumeier’s La Dame aux Camélias is a haunting exploration of the ephemeral nature of love.
Paris Opéra Ballet revived Rudolf Nureyev’s grand 1986 “Hollywood” Cinderella as part of the celebration to mark 80 years since the birth of Nureyev.