The Spring Hill Reservoir is no longer Brisbane's best kept secret but the distinctive venue is a charming outing in its own right.
It was the Underground Opera Company who got it up and running as a performance space so they have earned the right to present a series of offerings this year.
The opening night of 'West End To Broadway' unfortunately saw Bruce Edwards (founder) and his crew beset with technical problems: the projections weren't operational, and combined with the performers' dark dress code, the overall visual effect was a little gloomy. There were also teething problems with the sound system: there were times of clarity but the quality of the sound varied. The women's voices seemed to suffer most, but at various times all voices sounded fuzzy. The performance would have benefitted from unmiking the singers, as in previous UO performances at the Reservoir.
The Reservoir is, as promoted, a "unique and intimate venue". It's part of the magical intimacy between the singers and audience to hear the voice direct rather than blended with an amplified version. All four performers could have managed the acoustics of the cavernous but limited space. While musical theatre might be more challenging, amplification didn't gain anything, and good diction often got blurred.
The singers however were true professionals and worked hard to keep the atmosphere alive: Mezzo Louise Dorsman is a veteran with UO and uses her voice and acting skills to create drama as well as musical beauty. Soprano Ana Marina brings her long-running experience as Christine ('Phantom Of The Opera') to shine in the sensitive heroine numbers. Baritone Lionel Theunissen seemed a little stilted at first but warmed up and caught Bradley McCaw's (tenor) more emotive tone in their duet 'Lily's Eyes' (Secret Garden). Bradley achieved great rapport by throwing himself into each character; his notable enthusiasm infecting the audience as he carried off difficult well-know songs like 'Maria' from 'West Side Story'.
The selection of numbers were unashamedly dramatic and romantic, and this is where musical theatre excels, in pulling the heart strings with angst and true love. But you can only reach that emotive high so many times a night; more variety might have enhanced the drama by relief. Even the amusing numbers were on the grim or cynical side; difficulties with audio clarity made it less funny. The audience seemed less enthralled than with the opera show. It's hard to take the listener along with without the build-up of the story and maybe the technical beauty of opera numbers let them stand alone better. However, there is so much to choose from in West End and Broadway that some whimsical romance and good humour could have improved the overall mood.
As a quartet the singers opened moderately well but didn't quite mesh in 'Somewhere' ('West Side Story'). Their ensemble improved notably in the second act with a touching rendition of 'Can You Feel The Love Tonight' ('Lion King') but they left their best to the end with 'Bring Him Home' from 'Les Misérables'. Finally the audience was outwardly enthusiastic and rewarded with a rousing encore 'One More Day' (also 'Les Mis').
‘West End To Broadway’ performs the Spring Hill Reservoir 12-28 February.
