Devised by Peter J. Adams - Directed by Jason Langley
Musical Direction by Michael Tyack
Lighting design by Trudy Dalgleish
Produced by Christine Dunstan Production,
The Playhouse - Canberra Theatre Centre Produced by Christine Dunstan Production,
Performance on 21st May reviewed by Bill
Stephens
Between them, Nancye Hayes and Todd McKenney can boast
nearly 90 years of performing on stage in plays, musicals and variety. Their paths first crossed when Hayes was starring
in the musical “42nd Street” and McKenney was performing a featured
role. Later they toured together in a
hugely successful tour of the play “Six Dance Lessons in Six Weeks”.
“Bosom Buddies” is an elegantly constructed
biographical show in which they share stories of the shows in which they have
appeared together, and separately. It’s a masterclass in stagecraft, a lesson
in Australian music theatre history and sheer delight from beginning to end.
Stylishly directed by Jason Langley on an elegantly
dressed stage on which two comfortable lounge chairs occupy one side, and two
director’s chairs emblazoned with the artists names are set on the other. Suspended above, a gold-framed screen on
which, through-out the show, archival film highlights and photographs are
projected, commencing with the overture during which a cleverly edited montage
of film from Australian national productions including “Chicago”, “Crazy For You”, The Boy from Oz”
and “Annie”, set the mood.
Later in the program they sing a brilliantly
constructed medley of songs from every show in which they have appeared, which
provides a tantalizing memory test for the aficionados in the audience.
Except for a Q & A towards the end, the show is
tightly scripted, but so skillfully delivered that it feels spontaneous. Both
are master story-tellers. Their descriptions of their on-stage experiences are
most often self-deprecating, and always hilarious. Not all the filmed sequences are laudatory,
especially the one of McKenney coming a cropper during a performance of “42nd
Street”, and neither resists the
temptation to pepper the films with cheeky jibes at the other’s performance in
them, much to the delight of the audience.
But as fascinating as the archival film is, it is the
moments when they re-create, mostly briefly, their performances at certain key points
in their careers, which make this show so unforgettable. When Hayes sings a
snatch of the title song for “Cabaret”,
in which she starred in the first Australian production, or “Adelaide’s Lament”
from “Guys and Dolls”, or when McKenney , with just a dab of make-up and a
snippet of “Money, Money, Money”, re-creates
his interpretation of the decadent MC in
a later iteration of “Cabaret”, or later dueting with a film of Peter Allen singing a moving
version of “Tentafield Saddler”, the audience becomes privy to an extraordinary
glimpse at what it is about these two artists which have allowed them both to reach
the peak of their profession.
Their costumes thoughout are impeccable, and the
changes subtle, as is Trudy Dalgleish’s lighting design. The superb recorded
musical arrangements by Michael Tyack allow transitions between filmed
soundtracks and live performance to be achieved gracefully…and yes they dance …
wonderfully …individually and together.
This beautifully crafted show is currently enjoying an
extensive regional tour. However, Sydney-siders will have an opportunity to
catch it at the Parramatta Riverside Theatre on 3rd June. It will
also be performed in Adelaide as part of the 2018 Adelaide Cabaret Festival on
10th and 11th June. Don’t miss it.
This review first published in Australian Arts Review. www.artsreview.com.au
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