Music by: Max Lambert - Book and Lyrics by: Nick Enright
Director: Darren Yap - Musical Director: Max Lambert -Choreographer: Kelly Abbey
Lighting Designer: Hugh Hamilton.
Presented by Luckiest Productions -Hayes Theatre Sydney – October 17 to November 16, 2014
Reviewed by Bill Stephens
There seems to be a resurgence of interest in the work of Nick Enright. For a couple of weeks this month it was possible to see two of his works, “Miracle City” and “Daylight Saving”, running simultaneously in professional productions on stage in Sydney.
Perhaps the most intriguing is the musical “Miracle City”, which is perhaps the most famous Australian musical we’ve never seen. That is until now.
“Miracle City” was originally given a development season by The Sydney Theatre Company in 1996, directed by Gale Edwards. It received an enthusiastic reception at the time, but apart from a modified version, directed by Enright himself for WAAPA, it has not been seen again until resurrected by Luckiest Productions for this season at The Hayes Theatre.
Set in the 1990’s and inspired by the careers of televangelists, Jim and Tammy Faye Bakker, all the action in “Miracle City” takes place in a cable television studio, on a Sunday morning, before, during and after the televising of the Truswell family’s weekly television show.
|Mike McLeish as Ricky Truswell - Blazey Best as Lora-Lee Truswell|
Mike McLeish gives a superb performance as the evangelist, Ricky Truswell, using his winning smile, silver tongue and apple-pie-fresh family to convince viewers to part with their savings to finance “Miracle City”, his religious theme park. How far Truswell will go to achieve his aim becomes shockingly clear as the show progresses.
Hilary Cole is delightfully convincing as Truswell’s sixteen-year-old daughter, Loretta, and Cameron Holmes as her young brother, Ricky-Bob is heartbreaking as he registers the realisation of the fate of his sister.
|Blazey Best as Lora-Lee Truswell|
As the Truswell’s three back-up singers, Marika Aubrey, Esther Hannaford and Josie Lane, not only sing up a storm but also manage to create three distinctly interesting characters. Esther Hannaford, as struggling drug-addict Bonnie-Mae, gets the best opportunities and the best song in the show, the soaring ballad “I’ll Hold On”.
|Esther Hannaford as Bonnie-Mae|
Peter Kowitz is flesh-crawlingly creepy as the self-serving sleazy guest televangelist, Millard Sizemore, and Jason Kos brings notable presence to the role of Billy Trengrove, the stage-manager whose job it is to keep the show on track amid the chaos threatening around him.
Michael Hankin’s set design of a moveable semi-transparent gold curtain, moved around the stage by the cast, is a lesson in economical stage design. It allows us to see the action happening behind the scenes, while creating the correct atmosphere for what is happening in front, and is used to maximum effect by director Darren Yap who moves the show along at a cracking pace for its 90 minute duration, performed without an interval.
Choreography, costumes and lighting by Kelley Abbey, Roger Kirk and Hugh Hamilton serve the production well by capturing the feel of the early 1990’s. Max Lambert’s music is tuneful, appropriate and accessible while Nick Enright’s book and lyrics remain as powerful and fresh as when they were written.
The good news is that this production has been recorded for CD release. If you see it, get yourself a copy. Luckiest Productions have done music theatre enthusiasts a great service by rescuing this important Australian music theatre gem from obscurity with this excellent production.
|Josie Lane, Marika Aubrey, Esther Hannaford|
This review also appears in AUSTRALIAN ARTS REVIEW