Tag Archives: Cameron Mitchell

High Society

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Hayes Theatre Co, September 7

Amy Lehpamer and the cast of High Society. Photo: Kurt Sneddon

Amy Lehpamer, sizzling in red, and the cast of High Society. Photo: Kurt Sneddon

High Society is set in the palatial home of rich socialites complete with swimming pool: quite a challenge in a 111-seat theatre.

But, true to form, the Hayes Theatre Co production solves it ingeniously. Set designer Lauren Peters has come up with four elegant, moveable arches and a clever reveal for the party scene. Lucetta Stapleton’s 1930s costuming, a few props and some sound effects (Jeremy Silver) are enough to complete the picture, along with Gavan Swift’s lighting.

The 1998 stage musical is based on the 1956 film High Society starring Grace Kelly, Bing Crosby and Frank Sinatra and Philip Barry’s 1939 play The Philadelphia Story. It has a very funny script by Arthur Kopit and songs by Cole Porter, some of which were in the movie, such as Who Wants to Be a Millionaire?, Well, Did you Evah! and True Love, along with others of his that weren’t. Not all the lyrics relate as well as they might to the situation but overall it works a treat.

It’s the eve of Tracy Lord’s wedding to the rather pompous, dull George Kittredge. However, her younger sister Dinah is determined that Tracy remarry her first husband CK Dexter Haven, who turns up unexpectedly with a pair of reporters from Spy Magazine, Mike Connor and Liz Imbrie.

Helen Dallimore directs with a sure, light touch, telling the story with great clarity, while Cameron Mitchell’s choreography suits the period. In another ingenious touch, Dallimore uses a quartet led by musical director Daryl Wallis whose jazzy arrangements of the score work brilliantly.

Virginia Gay and Bobby Fox. Photo: Kurt Sneddon

Virginia Gay and Bobby Fox. Photo: Kurt Sneddon

Amy Lehpamer positively glows as Tracy: glamorous, tough and very funny when drunk, her singing, acting and dancing all perfectly pitched. Virginia Gay is sensational as Liz, who is quietly in love with Mike. Her comic timing is impeccable, her performance is full of delicious, surprising little details (the way she hesitates to articulate the word ‘you’ when singing “All I want is you” in Who Wants to Be a Millionaire? just one of many) and she knows exactly how to deliver the songs.

Bobby Fox convincingly conveys Mike’s gradual softening as he falls for Tracy in a charismatic performance, while Bert LaBonté is an understated, rather melancholic Dexter whose charm grows on you.

Along the rest of the exceptionally strong cast, there are well judged comic performance from Scott Irwin as George, Jessica Whitfield as Dinah and Laurence Coy as the lecherous uncle Willy, while Delia Hannah is lovely as Tracy’s mother. All in all, divine.

High Society plays at the Hayes Theatre Co until October 3. Bookings: www.hayestheatre.com.au or 02 8065 7337

 A version of this review ran in the Sunday Telegraph on September 13

Heathers the Musical

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Hayes Theatre Co, July 20

Lucy Maunder (centre) flanked by Libby Asciak and Erin Clare. Photo: Kurt Sneddon

Lucy Maunder (centre) flanked by Libby Asciak and Erin Clare. Photo: Kurt Sneddon

Based on the cult 1988 film starring Winona Ryder and Christian Slater, Heathers the Musical, which premiered off-Broadway last year, is a black comedy with a catchy, upbeat pop-rock score: think Grease meets Mean Girls with a decidedly dark twist.

Westerburg High is ruled by a triumverate of beautiful but cruel girls all called Heather. Cross them and you’ll find yourself in the social equivalent of Siberia, or worse. But when the Heathers enlist former misfit Veronica Sawyer for her forgery skills, they take on more than they’d bargained for with Veronica’s avenging boyfriend Jason ‘J.D.’ Dean prepared to go to deadly extremes.

Written by Laurence O’Keefe (Legally Blonde) and Kevin Murphy, the musical sticks closely to the screenplay though it isn’t quite so dark. The show’s gear changes between satire, camp comedy, blithe sentimentality and dark themes (teenage suicide, school massacres, bullying, homophobia) crunch a bit at times ­– or would do if the production were not so good. But here, first-time director Trevor Ashley negotiates them with assurance, flair and a sure-fire sense of comedy.

Ashley’s high-energy production leaps off the stage at you. With the cast all turning in full-bore performances, it does a great job of walking the fine line between being knowing, tongue-in-cheek and just serious enough. The musical could do with a little tightening at times but Ashley never allows it to flag. It’s a very impressive directorial debut from a man who is also playing Thenardier in Les Misérables at the same time.

Jaz Flowers is sensational as Veronica, giving a winning, emotionally believable performance that brings surprising depth to the role. She also sings the hell out of her songs. Lucy Maunder is hilariously funny as queen bitch Heather Chandler, showing what fine comic chops she has. Her raised eyebrows are eloquent as anything, her death stare is scary, while her singing is gorgeous.

Stephen Madsen and Jaz Flowers. Photo: Kurt Sneddon

Stephen Madsen and Jaz Flowers. Photo: Kurt Sneddon

Among the rest of the terrific cast, Lauren McKenna shines in the double role of the bullied Martha “Dumptruck” Dunnstock and loopy New Age teacher Ms Fleming. Stephen Madsen brings a brooding charisma and cool detachment to the Baudelaire-quoting, psychopathic J.D. and has a lovely voice. Vincent Hooper and Jakob Ambrose are very funny as dim-witted jocks Ram and Kurt, while Erin Clare and Libby Asciak give broadly comic but well-defined performances as Heather Chandler’s side-kicks.

Emma Vine’s compact, clever set design, consisting primarily of school lockers, is well used by Ashley, who keeps the action pumping with sharply choreographed scene changes. Angela White has fun with the 1980s costuming and Cameron Mitchell’s superb, witty choreography is also bang on target.

The night I saw it the sound was somewhat out of whack with the band (led by musical director Bev Kennedy) so loud that the cast struggled to compete at times, though I gather that has now been sorted. Aside from that, it’s a first-rate production and extremely entertaining.

Heathers the Musical plays at the Hayes Theatre Co until August 9. It is sold out though I’m told they may try to add a couple of performances. Check the website http://www.hayestheatre.com.au

A version of this review ran in the Sunday Telegraph on July 26