Sing Its Praises

I’m not sure what the best thing about Sing On Through Tomorrow is.

Could it be that Matthew Robinson has confirmed just how good a songwriter he is?

Or could it be that some of the great young rising stars of music theatre five or six years ago are in career-best vocal form?

It’s probably both.

All of this has a sad side, however. No matter how good Robinson is, and no matter how good Kate Hoolihan, Shaun Rennie and Hollie Andrew are, there’s no way this show has or is going to get the recognition it deserves.

Robinson deserves to be hailed as one of Australia’s great songwriters. But he won’t be because we’re too obsessed with who’s winning Australia’s Got Talent, or when Justin Beiber will next be in Australia.

Robinson’s songs are full of meaning, full of unrivalled talent and deserve to be heard outside of an insular industry that recognises just how good this bloke is.

The best applause, however, can come from your peers and there is no doubt that Sing On Through Tomorrow, a showcase of Robinson’s songs with very little plot or flowing storyline, is an excellent example of his work.

Act one highlights include the Robinson and Rennie duet ‘Don’t Care’, which brings a smile, whilst there’s a few tears thrown in as well, and a caring smirk during ‘Five Years Time’; a Hoolihan and Robinson duet.

Hollie Andrew’s highlight comes with her act two rendition of ‘Dignity’, a heartbreaking song that shows the depth of Robinson’s writing.

The set is simple, the sound superb, and wide-ranging vocal talents a highlight.

Sing On Through Tomorrow is a must-see show, and its upcoming live cast recording is a must-buy.