Melbourne Concert Hall

~ by Xenia Hanusiak ~

Michael Ball comes to Australia with a swag of West End star roles: Frederic in Pirates of Penzance, Marius in Les Miserables, Raoul in Phantom of the Opera and the unforgettable Alex in Aspects of Love.

He comes with a voice that traverses an infinite emotional gamot.

His voice soars through every dramatic denouement with consummate control and refinement.

To each theatrical vignette, he brings a different coloration of vocal timbre, an arresting power and energy, lifting us to exhilarating realms.

And then, without warning, all this brilliance dissipates because the song selection turns from the genius of Sondheim to an 80s rock classic.

Does it work on a populist level? Yes! And does it confuse Ball's artistery? Yes.

Michael Ball as the man for all seasons is capable of being Mr. Entertainer, disrobing his tie, loosening his shirt buttons and pleasing his female fans. But in doing so Ball loses his credibility.

Michael Ball's talent is non-negotiable.

His show "The world Musicals Tour" suffers because because the musical arrangements and the back-up singers are lost in the world of 80s.

And there is no need for either.