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Kiss Me, Kate
Presented by: MLOC Productions
Venue: Phoenix Theatre, Elwood
Reviewer: Bill Connellan
Date Reviewed: 9th November, 2007
MLOC presents the 1999 revised version of this popular musical with
music and lyrics by Cole Porter and book by Bella & Samuel Spewack.
Based on Shakespeare's The Taming of the Shrew and set in the USA
in a hot 1950's summer, "Kiss Me Kate" tells the tale of two
previously married but now divorced actors, Fred Graham and Lilli
Vanessi, currently appearing opposite each other as Pertruchio and
Katherine in a travelling theatre company’s Broadway-bound version
of "The Taming of the Shrew". On anything but amicable terms their
personal battles threaten to spill over to their on-stage characters
mid-performance, with potentially disastrous results for the
production. The introduction of a couple of gangsters who have come
to collect on a substantial gambling debt incurred by Bill Calhoun,
and their subsequent threats, is all that keeps the show running.
Staging a show within a show is always demanding and requires clear
definition for both the actors’ characterisation and the audience’s
understanding of the plot. This was well achieved by director Judy
Sullivan and the simple but effective sets further allowed the
audience to clearly follow what was transpiring in front of them.
Choreography
by Tania Robins was pleasant with some well-presented tap routines
and several ensemble pieces that were executed with precision by an
obviously well drilled company. Geoff Earle kept the music tight
with the orchestra giving the Cole Porter score the respect it
deserved.
Peter Smitheram played the focal role of Fred Graham/Petruchio and
his years of experience were evident. His portrayal of the
self-obsessed Fred was spot on and reminiscent of those people in
theatre that I'm sure we have all met, who believe that without them
the whole show would collapse. His variation as Pertruchio was
clearly defined and was in the classical Shakespearian fashion. A
very demanding role performed with style and conviction.
Returning to
the stage after a break of 15 years, Lucy Nicholson's performance as
Lilli Vanessi/Katherine was an ideal balance for Peter. Her wealth
of experience and strong music background enabled her to carry the
duel roles with apparent ease and her singing was a musical
highlight. Their animosity mixed with occasional tenderness was
beautifully portrayed .
Michael Young and Bill Irvine as the 1st & 2nd Gangsters were
excellent and nearly stole the show. Their comic timing and
slapstick characterisation were right on the mark and had the
audience laughing along with them. Importantly they knew just how
far to push
it and never went over the top or upstaged any of the other
principles, something very easy to do in that type of role. Their
duet "Brush up your Shakespeare" was the comic highlight and well
deserved the encore it received. Bravo.
The supporting roles of Bill Calhoun/Lucentio and Lois Lane/Bianca
were performed admirably by John Davidson and Trudi Sheppard and
provided good support for the two leads. Special congrats to John
who I believe tore a muscle early in the show but carried on like a
real trooper and hardly missed a beat.
Unfortunately there were some major technical problems on the night
with the sound quality and balance; entries were frequently either
missed or so soft as to be inaudible to the audience. There were
also a number of occasions where principles’ mics faded or cut
out completely mid scene making it difficult to pick up the
dialogue.
The idea of
having the orchestra onstage behind the performers added to the
impression you were watching the theatre company scenes from the
wings, then bringing in a curtain to present the "Taming of the
Shrew" scenes was most effective. This unfortunately only compounded
the sound problems with large swings in volume levels depending on
if the curtain was in or out.
The constant
flickering of a large monitor at the rear of the theatre was also a
major distraction. I overheard several groups making similar
comments, so can only presume these issues were not isolated to a
small section of the theatre. I know the crew are aware of the
problem and I'm confident all will be well for the remainder of the
season.
The ensemble performed well and managed the transition from
Shakespeare to Porter and back with good flow and variation in
characterisation. Just a reminder to make sure you are clearly
offstage before adjusting your costume or picking your nose, you
will be noticed, no matter how discreet you think you are! The
dancing was tight and I didn't notice a single person out of step:
Well Done.
Despite the technical problems this was still an enjoyable nights
entertainment with some fine performances and runs until next
Saturday the 17th November.
Bill Connellan
has been involved in music theatre for over 25 years performing with
a number of companies including Babirra Music Theatre, Gilbert &
Sullivan Society, Savoy Opera, Loyola and others. He has also
directed several productions, designed sets, done corporate work and
appeared in film and television.
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