Theatre Royal, Sydney
Reviewed by Ben Oxley
Credit: dirtyrottenscoundrels.com.au
Tony Sheldon (Lawrence Jamieson), Matt Hetherington (Freddy) and Amy Lehpalmer (Christina Colgate) combine expertly to bring a fast moving musical comedy to the stage. By the response from the opening night audience, it was clear the show is a big hit, thanks to the work of Roger Hodgman. You may have come to the theatre expecting something else, but you go out with a buzz, whirling around the dance floor.
'Great Big Stuff' sets Freddy's aspirational stall out; what he doesn't know is how he will figure in this elegant swindle. 'Love Sneaks In' is the perfect foil for this, expertly contrasting the two cads. In fact, David Yazbeck’s clever score takes you on a journey through cabaret and Broadway styles. You feel like you know these songs.
'Oklahoma?' is more than a passing nod to the more familiar musical. Katrina Retallick as Jolene is a firm favourite, giving home-style glitz to her role. She brings a cast iron brass to the elegant world of Beaumont sur Mer. Her only challenge is how to deal with 'Ruprecht', Freddy's take on Lawrence's special needs sibling.
Anne Wood, as the medicated Muriel, has the experience and timing for "What Was a Woman to Do". Her balcony scenes, with Andre (John Wood) are beautifully crafted and deftly delivered from both of them.
But the songs sell the show, with "The Miracle" in Act I Finale, "The More We Dance" and the final "Dirty Rotten Number" giving the cast and fabulous ensemble much to create lasting impressions.
Choreography by Dana Jolly had the feel of elegant revue, with lovely use of the stage, balustrade and staircase. Michael Hankin created a summery set, allowing the action to rattle on, costume and scene changes taken onstage when needed.
Nicholas Rayment’s lighting is everything, if you agree with Tony Sheldon. It is also key to the final outcome of the scam. Big rap for music director Guy Simpson and his orchestra in keeping the story alive through the twists of this tale. While you might not be able to hum the tunes on first hearing, this is a welcome return to stylish musical comedy of yesteryear, with plenty of today's jokes. Go!
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