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| The Pan Pacific Grand Prix Thomas Lacey (Scott) - Phoebe Panaretos (Fran) Photo: Jeff Busby |
Original Score and arrangements: Elliott
Wheeler
Director: Baz Luhrmann
Set and Costume Designer: Catherine
Martin
Choreographer: John O’Connell
Musical Supervisor: Max Lambert
Global Premiere reviewed by Bill
Stephens
Following an
unprecedented publicity blitz, the first night audience was expecting “Strictly
Ballroom” to be spectacular. They were
not disappointed. From the moment you entered the theatre you knew you were in
for a memorable theatrical experience.
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| Strictly Ballroom - Global Premiere Photo: James Morgan |
The
auditorium of the Lyric Theatre has been transformed into a huge dance-hall
with multi-colour lame seats and huge posters decorating the walls. It looks
terrific. Smarmy JJ Silvers, (Mark Owen-Taylor) warms up the audience for the
forthcoming dance competition, dividing them into sections which are given contestants
to barrack for. Then the glittering curtains part to reveal a stunning riot of
spangles, sequins, feathers and swirling ball-gowns.
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| Flashback Drew Forsythe ( Doug Hastings) and ensemble Photo: Douglas Kirkland |
Catherine
Martin’s costumes, topped with sky-high hairdos, are gorgeous and gaudy. So are
her wonderfully detailed settings which magically break apart, dance with the
action, and regroup in endless combinations.
Song follows
song as we meet the various players and begin the familiar story of ballroom
dance champion Scott Hastings (Thomas Lacey), who wants to change the dance
rules, and ugly-duckling, Fran (Phoebe Panaretos) who’s just the girl to help
him do it. Most of the audience seemed to be familiar with the movie, and as
the musical follows the movie fairly closely, there were times where the
audience were ahead of the plot, particularly when the plot was interrupted by
an unfamiliar song.
“Love is in
the Air”, “Perhaps, Perhaps, Perhaps, “Time after Time” and “Happy Feet” are
all there, so is the “Blue Danube Waltz” and Bizet’s familiar “Habanera”
(now with new lyrics about “A Life Lived in Fear”). There are also many new
songs in various styles by a phalanx of composers, among them Eddie Perfect,
Sia Furler, Dianne Warren, Elliott
Wheeler, Baz Luhrmann and Craig Pearce. These songs were presumably intended to
advance the plot, but the lyrics were most often unintelligible, because of excessive
amplification and brassy orchestrations. Hopefully a cast recording will reveal
their lyrics.
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| "Time After Time" Thomas Lacey (Scott Hastings) - Phoebe Panaretos (Fran) - Top Drew Forsythe (Doug Hastings) - Bottom Photo: Jeff Busby |
There are
many highlights in the show. Personal favourites include the lovely staging of
“Time after Time” where Fran and Scott dance on the rooftop against a backdrop
of a Hills Hoist clothes-line with Baz Luhrmann’s ubiquitous Coca Cola neon sign trade-mark
twinkling in the background, while below them, Scott’s father, Doug Hastings (a
memorable characterisation by Drew Forsythe) dances alone with his own
memories. It’s a powerful and touching
image.
Then there’s
the truly exciting first act finale when Rico (Fernando Mira) with the support
of Abuela (Natalie Gamsu, who steals every scene she is in) teach Scott the
Paso Doble.
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| Act One Finale Phoebe Panaretos - Natalie Gamsu - Fernando Mira - Thomas Lacey Photo: Douglas Kirkland |
The low
points include the time-wasting audience-participation scenes where audience
members are brought up on stage.
Strong
performances abound, including those of Robert Grubb as the lugubrious Barry
Fife, Heather Mitchell as Scott’s loud and over-wrought mother, Nadia Coyote
drop-dead-gorgeous as Tina Sparkle, and Sophia Kato deliciously spiteful as Liz
Holt.
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| "Love is in the Air" Thomas Lacey (Scott Hastings) - Phoebe Panaretos (Fran) Photo:Jeff Busby |
Undeniably handsome,
a terrific dancer and possessing a serviceable voice, Thomas Lacey surprisingly
lacked the charisma necessary carry off the central role in a show of this
size. Scott Hastings is a hugely demanding on-stage role. Hopefully Lacey will
develop more presence as the season progresses.
Phoebe
Panaretos fared better as Fran. Following some unconvincing opening scenes and
some unexpectedly dodgy notes in her songs, she quickly settled into a charming
stage presence, although her dancing in the finale would certainly not have won
her the competition.Given that whole impetus of the story is to have Scott and Fran win the climactic Pan Pacific Grand Prix dance championship, the staging of this event proved a rather disappointing anti-climax, especially after all the razzle dazzle that had gone before. The show seemed to run out of new ideas at this point and despite the best efforts of the large cast, the ending seemed to fizzle into endless bows.
Doubtless
over the next few months, Baz Luhrmann, clever director that he is, will
continue to finesse this production, tweak some details, and maybe eliminate a
song or two to expose the heart which is currently beating below the feathers
and sequins.
Meanwhile, despite
the quibbles, “Strictly Ballroom”, is a must-see party show, spectacular to
look at and delightfully entertaining.  |
| Christina D'Agostino (Emily Waters)- Ryan Gonzales (Jonathan Drench) Photo: Jeff Busby |