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Little Me
Presented by: The Production Company
Venue:
The State Theatre, The Arts
Centre
Reviewer: Simon Parris
Date Reviewed: 22nd August 2007
The Production Company continues their (unintentional) Cy
Coleman/Neil Simon festival with the hilarious but rarely performed
Little Me.
Possibly because it was never turned into a movie, Little Me has
undeservedly languished on the musical theatre shelf. It features a
gorgeous score, full of a variety of music theatre styles, and a
side-splitting book. The cast calls for two extremely talented leads
and there is plenty of work for the ensemble.
 The
Little Me of the title is Belle Poitrine, who begins the night
regaling her close friends at the launch of her lurid tell-all
memoirs. The scene fades back to her early life when she started on
Drifter’s Row as Belle Schlumfort. Belle meets Noble Egglestone who
instantly becomes the love of her life, but she must acquire wealth,
culture and social position to be worthy of him. Just like Forrest
Gump in the second half of the twentieth century, Belle’s life’s
journey takes her past several of the most significant events of the
first half of that century. Belle’s adventures include performing in
Vaudeville, cheering the troops in WWI, surviving the maiden voyage
of the SS Gigantic and producing and starring in early Hollywood
movies (such as the classic Moses Takes A Wife).
More significant in her adventures are the men she meets and
marries, all played by one amazing actor: Mitchell Butel. Butel’s
accomplishment is nothing short of astounding, as he has crafted six
complete characterisations, any of which could hold a show on their
own. The parade of characters maintains the non-stop energy and
hilarity of the show. Butel has developed the body language, accent
and physical appearance of a spoilt, perpetually over-achieving
socialite, a stingy old man, an effervescent French cabaret star, a
near-sighted, dim-witted soldier, a forbidding German director and
an ailing European monarch. This is a triumph for Butel, even more
amazing with the short rehearsal period. Butel’s crisp diction is
the icing on the cake and helps him to land every punchline.
 Debra
Byrne glitters as Belle, displaying her brilliant talent for selling
a song. Byrne has only one role to play, but it’s a huge role, and
she is more than up to the job. Sometimes strangely attired, and
without the enhancement to her cleavage to live up to the name Belle
Poitrine, Byrne nonetheless dazzled in the role and had equal
success with landing all the jokes. She commands the audience’s
attention and makes the somewhat wacky storyline make sense by
playing it for real.
Credit must of course be given to Director Rodger Hodgman, who has
once again put together a very polished, physical production in
record time. Designer Richard Jeziorny makes glamorous use of
Orchestra Victoria, having them in white dinner jackets in a
decorative setting. Music Director Guy Simpson leads the band with
aplomb, particularly in perfecting the split second timing of Belle
and Noble’s “I Love You (As Much As I Am Able)’ theme which played
every time they touched.
Jeziorny also made excellent use of several set pieces and a screen
with projected photographs evoking the place, time and mood.
 More
challenging were the costuming requirements as the company had to be
attired across decades of varying fashions, which was achieved with
varying degrees of success. Dana Jolly’s choreography was not quite
up to the usual high standard of TPC. It must be noted that the
company was struck a blow when principal dancer Ross Hannaford
injured his ankle in rehearsals and could not perform. It was great
that he could be on stage to sing his part in the opening quartet.
Adam Murphy and Peter Lowrey added to the fun as the fast talking
Buchsbaum Brothers. Their other roles included Murphy as the aptly
named General Over The Top and Lowrey in a hilarious spot as the
captain of the Gigantic who was trying to enter the lifeboats
disguised in a fetching lemon dress and hat. Heather Bolton gave
another brilliant set of characterisations as both Belle and Noble’s
mothers. It was hard to believe it was the same actress each time.
Little Me is a special show and it is thrilling to finally have this
professional production of it in Melbourne. Lovers of musical comedy
are strongly advised to attend. We may not see the show again for a
long time, and even if we do it would be a miracle to see another
performance like that given by Mitchell Butel.
Bookings at ticketmaster:
www.ticketmaster.com.au
Simon has appeared in more than 30 productions over the past twenty
years. Recent roles include Eugene Fodor in Crazy for You (Whitehorse)
and Mr Fox in Mack and Mabel (CLOC). Other favourite roles include
Max in The Sound of Music, Freddy in My Fair Lady, Julio in Paint
Your Wagon, Marcellus in The Music Man and Grantaire in Les
Miserables. In 2005, Simon was nominated for a Guild Award in the
category Best Cameo Performance for his role as the Judge in Hello,
Dolly! (Whitehorse).
He is also a keen audience member, having seen over 50 shows in five
weeks on a recent trip to
New York
and
London.
Simon is currently in rehearsals for Catchment’s The Wizard of Oz,
in which he is playing Uncle Henry/Guard of the Gate. Simon has
served on the Music Theatre Guild of
Victoria
Committee for three years, and is currently Treasurer.
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