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Thoroughly Modern Millie
Presented by: Nova Music Theatre
Venue:
The Whitehorse Centre Nunawading
Reviewer: Chris Brown
Date Reviewed: 26th October 2007
On Friday 26th
October, I saw Nova Music Theatre’s current production of Thoroughly
Modern Millie, A delightful story of a fresh faced young girl who
arrives in New York with nothing but a few dollars, the clothes on
her back, and a quest to start life anew and marry her boss….
Opening Night
always seems to make the audience buzz with excitement.
As I walked
through the doors at the Whitehorse Centre I think I was one of
about 10 audience members who weren’t over the age of 50. That
aside, Millie is just one of those shows that captures the attention
and heart of anyone sitting before it.
With the audience
seated and buzzing with excitement, the house lights dimmed to set
the scene for Musical Director Malcolm Fawcett to strike up the
band, and that he did. A tight sound proved to get the audience
engaged in the music, although at times I did find Malcolm’s head
bobbing up and down and waving arms a little distractive as he was
above the pit level. I am unsure whether this was due to him being
too highly propped up or whether the pit was to shallow, which ever
one it was it became distracting. Besides that Malcolm’s tightly
sounded orchestra and vocals gave the show the edge it needs.
As the overture
neared to an end the curtain rose to reveal Millie (Carly Hobbs)
standing centre stage in front of an under-sized New York Skyline,
which didn’t impact the way it should’ve. Set by Barry Pearce and
Noel Browne offered an interesting perspective of New York with
musical instruments forming parts of the
architecture and landscape. Scenery could have complemented
the cast more by filling more or the available area.
At times I felt
the set could have been manipulated in a more discreet manner. Scene
changes in general were not executed well, especially when cast were
singing and the set was being struck behind them. Scene changes
could have been improved if cast had been more involved with the
changes. Having the scrim come in and out also detracted from the
cast and what was happening onstage.
Choreography by
Nathan Firmin and Dior Deumer was well thought out, providing simple
yet effective moves. The tap in The Speed Test and Forget About The
Boy was well executed by all, although some male ensemble seemed to
struggle. Overall the choreography was simple and effective.
Costume Design by
Karen Cadle and Diana Aguilar was appropriate for the period, yet I
do wonder how much floral material was around in the 20’s! The cast
were presented in a number of different costumes which
differentiated the scenes from one another.
Sound by Steve
Hobbins was generally good although at times it was hard to hear the
leads vocals or the levels didn’t blend with other cast members, I
also understand that the cast may not have had sufficient fold back
onstage which could have prevented some issues. Overall quality was
good.
Carly Hobbs as
Millie was consistent and knew the demands of her role. Carly
obviously made good use of the short rehearsal period and executed
her dialogue and dance well. Carly’s tap during The Speed Test was a
highlight of her footwork during Act 1, although I did find it funny
that an office table was pushed in front of her during one of the
tap breaks to allow the other dancers to be seen. The highlight of
her performance was the number Gimme Gimme at the end of Act 2 which
showed Carly’s vocal ability well. Overall Carly added depth and
commitment to the demanding role and also created the spark the show
needed.
Shelley Anthony’s
portrayal of Dorothy Brown added the sweetness and innocence the
show needs. Shelley’s vocals were maintained and consistent
throughout. Peter Phillips as Trevor Graydon I felt was underplayed.
The role needed to be more commanding and typical New York Boss
style. Peter’s singing at times was not forceful enough, whether
this was a sound issue or a projection issue I am unsure, but hope
these will get stronger throughout the run of show.
Millie’s love
interest Jimmy Smith, played by Brad Fischer, worked hard to fulfill
his role. His vocals and dance were up to scratch, yet were offset
by misdirection in some scenes. I often found cast standing in a
position seeming to not know what to do or where to go. Lynette
Julian as Mrs Meers, looked the part to a T, yet the accent of Meers
was too distorted and unclear which resulted in her failing to
produce the much needed comical side of the character. In certain
scenes I found that the role to be over dramatized which was not
necessary and did not compliment her performance. Lynette’s vocals
did not have the “Guts and Belt” to carry her songs off.
Trish Carr as
Muzzy van Hossmere was a delight to watch on stage. Trish carried
her songs well and had the “warmth” and “soul” Muzzy needs to have.
For those who have seen the movie and not the stage version Muzzy in
the stage show is a lot “Calmer and Cool” than Carol Channing was in
the movie. Trish performed with passion and held the stage when on
it.
One of the
highlights and I believe to be the best part in the show is the role
of Ms Flannery, the office Nazi. Flannery played by Anne Dewar was
fantastic and added outstanding comic timing and relief. It would no
doubt be difficult to play a Chinese man, but it seemed second
nature to Trevor Wooten and Jon Ricketson who played Bun Foo and
Ching Ho seamlessly.
The “Friends” of
Millie, had energy and spark which entertained the audience. The
girls dance abilities were excellent displaying a range of skills
that proved to entertain. Although I had doubt in some of the
general ensemble members ability to execute simple dance moves. The
standout male of the ensemble, Ben Stokes danced up a storm in his
numbers and added energy to the cast.
Overall Nova’s
Production of “Millie” was enjoyable and entertaining, I am sure
that with another month’s rehearsal time this show would have in
certain areas including direction and staging of ensemble numbers
which at times appeared a little slow and perhaps under-rehearsed,
but with an extremely short rehearsal period Nova captured the
light-heartedness and joy of “Millie” adequately. If you are after
an enjoyable night out at the theatre were you can sit and tap
along, then Nova’s “Millie” is possibly the show to see.
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