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The Boy from Oz
Presented
by:
CLOC Musical Theatre
Date Reviewed:
Friday 9th May, 2008
Venue:
Alexander Theatre
Reviewer:
Jennie Kellaway
Boy, oh Boy, oh Jonno!
CLOC’s The Boy From Oz opened at the Alexander Theatre with the
audience giving the star of the evening, Jonathon Sebastian, as
Peter Allen, a standing ovation.
The multi-talented Jonathon is able to carry the part because, as it
states in the program, he is happiest when he has the opportunity to
sing, dance and act simultaneously. And that he does; for most of
the show, leaving the stage for only short moments to change into
yet another flashy shirt. His passion, energy and commitment to the
task of playing Peter Allen are highly evident in his performance.
It is a part made for him. As he walked on stage on Friday night, he
looked very much like the young Todd McKenney, who I saw play role
in the original Gale Edwards production nearly ten years ago.
Perhaps a little nervous - but obviously excited to get the show
moving - his interaction with the audience came more naturally as
the show progressed. The audience fed him the required energy and
called for ‘Rio’
which eventually finished the show in a blaze of sequins, feathers
and fluorescent colour.
The show itself is another of the popular ‘juke box musical’ genre;
the dialogue providing links to song after song written by Peter
Allen in an autobiographical style. Those familiar with Allen’s
story and music know that he was an ambitious young country boy from
Australia who teams with Aussie Chris Bell to form The Allen
Brothers.
He meets Judy Garland whilst working in Hong Kong and eventually
gains fame and fortune in the United States. He marries and divorces
Liza Minnelli and works with many legendary American songwriters.
Finally meeting the love of his life, Greg Connell, before
succumbing to AIDS in 1992, Peter keeps in constant touch with his
mum, Marion Woolnough.
Jonathon is supported by a strong and talented cast of performers.
Elizabeth Dark puts her own spin on the character of Judy Garland,
performing her numbers with strong vocals and always a glass in her
hand. Like his mother, Marion, the ghost of Judy has a powerful sway
over him in the decisions he makes in his life.
Beryle Frees’ interpretation of Marion Woolnough was warm and heart
wrenching, particularly during her performance of ‘Don’t Cry Out
Loud’. Bree Cahill captured a real essence of Liza Minnelli,
impressing the audience with her singing, dancing and acting
ability. Whilst still not mimicking Liza, she found ways of making
us believe that was who she was, with nuances, gestures and ‘the
laugh’.
Young Peter, played on Friday night by Jackson Laidlaw, was a
sensation and stole every scene he was in. He combined a fabulous
sense of the character with strong vocal and dance skills.
The stand-out supporting actor of the show was Heath Harney as Greg
Connell. He ever so slightly underplayed his character, made him
totally believable alongside his ‘out-there’ partner Peter, and
delivered an intelligent performance. Heath’s interpretation of ‘I
Honestly Love You’ came from the heart of his character and was a
truly magical moment in the show.
Other smaller supporting roles, handled by such well-known
performers as Lee Threadgold, Adrienne George, Steven Rostron and
Pip Smibert attest to the depth of the talent in the cast. The
girl’s trio of Rebecca Ginsberg, Amelia Rope and Carolyn Bruce were
vocally tight and they encouraged the audience to participate in the
spirit of the evening.
The Ensemble of very talented dancers and singers had many
opportunities to shine and also had some very amusing moments. The
line-up of the ‘Radio City Rockets’ was a joy to behold and the
kick-line was fantastic. Peter Dennis as Brian Henderson was also
fleeting but funny. With many quick costume changes, most of the
ensemble seemed to handle the pace of the show.
Technically, this show featured the talents of many people,
including Set Designer Brenton Staples and the technical team at
CLOC who continue to manufacture a high standard of sets. Stelios
Karagiannis’s lighting was integral to the success of the set design
and the special effects for ‘Tenterfield Sadler’ were my favourite.
Special mention must be made of CLOC’s Stage Manager, Sandra Davies
who got on stage at one point of the show and delivered lines and
danced. Musical Director Greg Smith once again proved the depth of
his talents; with such a range of performers and conducting an
orchestra that sits on stage for the entire show. Susan Lewis’s
choreography was multi-faceted, showcasing the cast in the many
styles required in this show.
Director Chris Bradtke was sipping champagne at five to eight on
opening night, too nervous to watch the show, but his fears were
unfounded. There was the odd sound and lighting glitch, not uncommon
on an opening night. Some of the costume changes for the ensemble
need polishing, and if I am being critical, some costume choices and
designs, I would question.
However, CLOC’s The Boy From Oz, one of this year’s most anticipated
shows is a resounding success, mostly due to the extraordinary
talents of Jonathon, the cast and the show’s creative team. If you
can secure a ticket, see this one, do so, it is fabulous.
Jennie completed a very busy year last year, performing in Return
to the Forbidden Planet at Fab Nobs, The Producers
at
Whitehorse
and Fab Nobs First Five Years Concert. A teacher, with post
graduate qualifications in Arts Education, Jennie has
been performing for many years in all forms of theatre and she has
worked with many companies including CLOC and
The Lilydale Athenaeum.
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