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I Love You, You're Perfect....Now Change
Presented by: Groove Tonic
Venue: Theatreworks, St Kilda
Reviewer: Luke Taylor
Date Reviewed: 7th July 2007
I
love you, you’re perfect, now change, hmm, not something you’d
ordinarily want to hear but believe me if you don’t hear this you’ll
be very very sorry!
A
clever name for a clever show that marries (yes there’s going to be
a lot of relationship style puns in this review so brace yourself)
together a series of vignettes cleverly woven together under the
theme of love. A collection of hysterical and heart warming moments
exploring the joys of dating, romance, marriage, lovers, husbands,
wives, in-laws and of course the longing we’ve all felt at one point
or another to find that special someone.
In this very small ensemble piece with a cast of only four, we are
treated to some of the finest voices you’ll hear in the Melbourne
theatre scene and it shows. Starring in no particular order Natalie
Calia, Rory Osman, Renee Pope-Munro and Luke Steward, these guys are
a joy themselves to watch accompanied
perfectly by Julie Marr on piano.
Four performers who upon reading the programme I quickly learn began
their association as an a cappella quartet formed from their meeting
whilst performing with The Melbourne Swing Ensemble. Which perhaps
explains their clear bond and comfort with each other that not only
puts you at ease as an audience member but in a way helps you feel
like you wanna be part of their gang.
In a show about relationships, it’s a plus for this cast that they
have that familiarity with each other and this shows, particularly
with their clean harmonies and tight vocal arrangements. I realise
already that I’m banging on about their vocals but it’s so very
refreshing to sit in a show in the amateur circuit and hear a group
of voices without fault or a weakest link.
There is a fabulous quote I once heard that says
“the woods would be very silent if no
birds sang except those that sang best” which is true but there’s
another quote that rings true here which I prefer that says “when
it’s good, it’s great” and I can assure you in this production this
is true!
It’s not all belly laughs in this show which from its humourous
title you might expect, with songs ranging from Single Man
Drought to The Lasagne Incident this piece, written by
playwright/lyricist Joe DiPietro and composer Jimmy Roberts also
treats us to some touching and genuine moments to reveal a well
balanced light and shade throughout the show.
Each performer had their own highlights culminating in some of the
most honest moments I’ve seen on stage in some time. Pope-Munro’s
I Will Be Loved Tonight was so delicious in its delivery I
almost needed a cigarette after it, which is some mean feet seeing
as I don’t even smoke. A richly delivered number that showed some of
the desperation and relief the simple act of having someone show you
affection can bring.
For Osman, Baby Song was too cute for words, that said Osman
also showed his innate character transformation ability when he
became a charming and adorable little old man in Funerals are for
Dating/I Can Live With That, brilliant.
Steward’s highlight was by far Shouldn’t I Be Less In Love With
You where he captured the confusion of the strange zone we can
sometimes fall into with this crazy little thing called love.
For Calia a highlight for me to watch was The Very First Dating
Video of Rose Ritz, sure she is vocally wonderful in Always A
Bridesmaid, Never A Bride, but in this powerful monologue
delivered as a dating video for a divorced woman seeking Mr Right
she got it so right. Holding the audience in the palm of your hand
is one thing, but being able to make an audience laugh out loud and
then within an instant create a moment that took my breath away with
its sincerity and honesty is quite an achievement.
In the silence of a theatre to hear someone’s heart break in a
beautifully delivered monologue is why I love live theatre.
This monologue demonstrated one of the technical achievements also
with live projection onto a screen at the rear of the stage but as
great and clever as this was as a trick for the technical team all
credit in this piece must go to the cast for their work, they soar
so high above anything that could be created with the shows set,
lighting or costuming so while I throw credit to the behind the
scenes team for seamless changes and transformations this show is
thankfully not reliant on anything but the talent of its cast.
This show is refreshing, hysterical and endearing and should be seen
by all. It’s not a heavy West Side Story or Les Mis, there’s no tits
and ass like Chorus Line but there is honesty and magic created here
that makes I Love You, You’re Perfect, Now Change a pleasure, please
please don’t change a thing!
Just so you all know if you’re reading this their season is shorter
than David Atkins so book now or just rock up and see it but see it
or you’ll be mad at yourself when you’re at your next theatre party
and people are talking about what a great show this was!
Luke was last seen on stage in Opera Australia’s production of
Turandot, prior to that in the Australian tour of EUROBEAT:THE
MUSICAL. He has recently returned from dancing overseas. Luke is
filling his time choreographing and working in association with Arts
Inc on some exciting new projects. Familiar to many of you from his
amateur theatre days Luke was last seen in
Whitehorse’s production of West Side Story as Bernardo.
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