Directed by
Chris Baldock – Musical Direction by Rhys Madigan
Choreographed
by Emma Nikolic and Karen Brock – Costumes designed by Anna Senior
Set designed
by Ian Coker
Presented by
The Canberra Philharmonic Society
Erindale
Theatre 12th to 28th October, 2017
Reviewed by
Bill Stephens
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| Ylaria Rogers (Fran) and Joel Hutchings (Scott Hastings) in "STRICTLY BALLROOM - The Musical |
Love was
certainly in the air last night when the Canberra Philharmonic Society
presented the first non-professional production of Baz Luhmann’s Strictly
Ballroom – The Musical. When Luhmann’s dazzling, multi-million dollar
production toured Australia in 2014/15 it received mixed reviews, mainly
because the story tended to get lost in a surfeit of extravagant production
numbers.
Since that
tour the show has been extensively reworked for International production, and
Philo were quick off the mark to secure the non-professional rights for this
version. It was also very canny in securing the services of experienced
director, Chris Baldock to helm this production, which remarkably, holds up very
well in comparison to the original.
By
eliminating some extraneous songs and replacing them with new specially-written
songs by Eddie Perfect, the storyline has been clarified, placing the focus firmly
on the blossoming romance between the self-absorbed champion ballroom dancer, Scott
Hastings and his shy but talented admirer, Fran.
Ylaria
Rogers gives a captivating performance as
Fran, the young dancer who understands what Scott is trying to achieve, and
anxious to help him achieve it. Her transition from hesitant beginner to
potential champion is carefully charted and a joy to watch.
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| Joel Hutchings as Scott Hastings in "STRICTLY BALLROOM - The Musical |
While his
ballroom dance technique is clearly not his strength, Joel Hutchings gives a
plucky performance as Scott Hastings, along the way executing some truly
impressive moves, especially in the cleverly choreographed solo in Act 1. The
scenes between Scott and Fran are particularly affecting, especially when Scott
begins to teach Fran some of his moves, and later, in perhaps the highlight of
the show, when Fran’s father (Tomas Dietz), teaches him the Spanish pasodoble.
With its
huge cast, “Strictly Ballroom” contains a plethora of great character roles. Astute
casting has resulted in many memorable performances, far too many to mention
individually. However, it would be
remiss not to acknowledge Pat Gallaher
and Paul Sweeney, outstanding as the conniving Barry Fife and his bumbling
offsider Les Kendle; Tracy Noble and Ian
Croker, funny and touching as Todd’s former dance-champion parents, Shirley and
Doug Hastings; and Berin Denham ( JJ Silvers) , Emma Nichols ( Tina Sparkle),
Peer Karmel ( Ken Railings) Liam Downing ( Wayne Burns), Kirrily Cornwell
(Abuela) and Tomas Dietz (Rico), and two remarkable junior performers, Jake Keen
(Luke) and particularly Isabella Fraser (Kylie Hastings) for turning a wardrobe
malfunction into a magic moment.
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| Joel Hutchings (Scott Hastings) and Emma Nicholls (Tina Sparkle) in "STRICTLY BALLROOM - The Musical" |
Despite the
usual first-night technical glitches with sound and lighting cues, which will
no doubt be rectified for future performances, there is so much about this production
to admire - Baldock’s masterly direction and his expertise in marshalling
Philo’s considerable resources to successfully conjure up the rarefied world of
competition ballroom dancing - Ian Croker’s clever mirrored set design which
allowed the many scenery changes to be accomplished seamlessly - Anna Senior’s
eye-popping costumes which combined with the imaginative and resourceful
choreography of Emma Nikolic and Karen Brock, provided a professional gloss to
the succession of spectacular production numbers.
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| Berin Denham (JJ Silver) and ensemble in "STRICTLY BALLROOM - The Musical |
Over the
years the Canberra Philharmonic Society has provided many outstanding
productions of great musicals. This production of “Strictly Ballroom” is
certainly up there among their best. Don’t miss it.
All photos courtesy of Ross Gould
This review first published in the digital edition of CITY NEWS on 13th October 2017
