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| Jonathan Biggins, Katrina Retallik, Phil Scott, Drew Forsythe in BACK TO BITE YOU |
Written and
created by Jonathan Biggins, Drew Forsythe and Phillip Scott
Presented by
Sydney Theatre Company
Canberra
Theatre Centre 13 – 24th September
Reviewed by
Bill Stephens
Surprisingly,
our Prime Minister doesn’t make an appearance in this newest edition of The
Wharf Revue; however he has provided the creators with an all-star cast who
more than compensate for his absence. Pauline Hanson, Jacquie Lambie and Derryn
Hinch all make appearances, as does his predecessor, Tony Abbott, resplendent
in red budgie smugglers, whose extraordinary fan-dance is alone, worth the
price of admission.
Jonathan
Biggins, Drew Forsythe and Phillip Scott are an extraordinary team who not only
conceive and write all the material, but also perform it. Each is a masterful clown,
with particular skills to contribute. Their annual Wharf Revues are eagerly
anticipated, particularly by Canberra audiences, for the brilliance with which
they skewer the foibles and failings of those elected to govern our country.
Their
current revue, “Back To Bite You” is up there with their best. Slick,
meticulously staged, and presented on an elegant setting augmented with clever
video projections and a constant stream of wickedly appropriate costumes. The
show commences in ancient Rome where toga-clad senators, with ridiculously
familiar names, scheme and plot. Among the continuous parade of unlikely
characters is Hinchicus, (Phil Scott clad in gladiator
leather, sword and shield as broadcaster, Derryn Hinch) whose interview by a
certain well-known, red bandana-wearing columnist, portrayed with delicious
accuracy by Jonathan Biggins, provides one of many highlights.
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| Katrina Retallik as Hilary Clinton - Phil Scott on piano |
New to the
team this year, Katrina Retallick, sets the scene as a Roman goddess in a superbly
sung introduction. Her considerable acting and music theatre chops as well as
her immaculate comic timing prove a considerable asset as, among many stylish
turns, she joins Biggins for some Bob Fosse-inspired madness to the tune of The Rhythm of Life, portrays Julia
Bishop, Jacqui Lambie, and an especially charged-up Hilary Clinton warning “Don’t Piss on My Campaign” to the tune
of Don’t Rain on My Parade.
Drew
Forsythe adds memorable characterisations as Pauline Hanson fending off
overtures from Phil Scott’s George Brandis, as a compliant Bill Shorten getting
a lesson in media skills from Jonathon Biggins’ Professor Higgins, a la “My
Fair Lady”, but especially as a funny and poignant Bob Ellis, complete with
tiny battered angels wings, celebrity spotting his heroes and mentors in
heaven.
Jonathan Biggins,
in top form, delivered a brilliant pun-packed monologue as American
military chief, Dick Tingle, briefing the audience on America’s view of the
Middle East. He also demonstrated his considerable mastery of physical
comedy in a cavalcade of memorable creations including a fan-dancing Tony
Abbott, a Fosse-like escapee from “Sweet Charity”, and a shorts-clad Bob Brown.
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| Phil Scott and Jonathon Biggins |
Besides
slipping behind the keyboard of the Steinway grand to provide brilliant accompaniments,
Phil Scott manages to miraculously slip in an out of some impressive costumes to
portray a buxom Hattie Jacques, an avenging gladiator, a Roman senator, and any
number of other miscreants with rib-tickling flair.
It was
interesting to observe that the final section of the show focussing the
American political scene, while brilliantly devised, did not get the same
response from the audience as what had gone before. Perhaps it was because of a
lack of familiarity with the personalities in American politics, or maybe
because the pronouncements of the likes of Donald Trump and Hilary Clinton are
just too unsettling. Or perhaps the audience just laughed out.
Whatever the
reason, it was proof of how well this brilliant production succeeds in
achieving what should be the aim of every satirical review, to
entertain, provoke and unsettle.
Photos by Brett Boardman
This review is also published in Australian Arts Review. www.artsreview.com.au
