Violet

Violet

Blue Saint Productions - Violet - Grant Leslie Photography

Samantha Dodemaide and the cast of Violet. Photo: Grant Leslie

Hayes Theatre Co, December 2

Violet is a lovely little musical with a gentle charm that gets under the skin. Before you know it, you’ve been knocked for six.

Written by composer Jeanine Tesori (who won Best Musical and Best Original Score for Fun Home at this year’s Tony Awards) and writer Brian Crawley, it is based on a short story by Doris Bett called The Ugliest Pilgrim.

The show premiered off-Broadway in 1997 and had a short season on Broadway last year with Sutton Foster as Violet. But it couldn’t have been given a more loving production than it gets here, produced by Blue Saint Productions in association with the Hayes, and directed by Mitchell Butel.

Set in 1964, Violet tells the story of a young woman (Samantha Dodemaide) who takes a Greyhound bus from North Carolina to Oklahoma, hoping that a televangelist can heal a disfiguring scar on her face, gained 12 years earlier when the blade flew from her father’s axe.

En route, she meets two soldiers – the cocky Monty (Steve Danielsen) and the kindly Flick (Barry Conrad) who as an African American understands what it’s like to be a misfit. The two buddies take her under their wing and fall for her.

Tesori’s music includes gospel, country, blues, soul, folk as well as ballads and soaring anthems in a more traditional musical theatre style. It’s a gorgeous score, with the songs emerging organically from the story and the characters.

Butel makes a very impressive directorial debut. For starters, his casting is excellent and he draws clearly delineated, truthful performances from the actors. He keeps the action moving fluidly at a perfect pace, and he knows exactly how to put the focus where it needs to be.

Simon Greer’s non-naturalistic set is a clever, evocative space, which Butel uses extremely well, with great support from the rest of the creative team (lighting by Ross Graham, costumes by Lucetta Stapleton and choreography by Amy Campbell).

Blue Saint Productions - Violet - Grant Leslie Photography

Samantha Dodemaide as Violet. Photo: Grant Leslie

With her expressive face and voice, Dodemaide gives a radiant performance as Violet, capturing her prickly exterior and inner vulnerability. She manages to make the character’s deluded naivety believable and has a lovely, shy smile that lights up the stage.

Luisa Scrofani and Damien Bermingham are moving in flashback scenes between the young Violet and her father. Danielsen and Conrad give warm, appealing, believable performances as Monty and Flick, Dash Kruck nails the charlatan preacher, while Genevieve Lemon is a scene-stealer as an old Lady on the bus and a Memphis lady of the night.

The rest of the ensemble – Katie Elle Reeve, Linden Furnell, Ryan Gonzalez and Elenoa Rokobaro – all play their part beautifully and between them unleash some powerhouse vocals, while Musical Director Lucy Bermingham leads a tight six-piece band.

The lyrics in the opening number are a little hard to hear with everyone singing so loudly, but after that the sound (sound design by Jeremy Silver) is as good as I’ve heard it at the Hayes.

Violet is a simple, optimistic piece about self-acceptance and forgiveness. The ending won’t surprise but it touches the heart without being sentimental or corny.

Violet is at the Hayes until December 20. Bookings: www.hayestheatre.com.au or 02 8065 7337

 A version of this review ran in the Sunday Telegraph on November 29

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High Society

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