Davine Interventionz. Star Theatre One. 5 Mar 2015
As the title suggests, Flower Children, is a musical that tells the story of American folk rock vocal group The Mamas and the Papas. Produced by Adelaide’s own David Gauci and his company Davine Interventionz, this one off 5-show-only production could be Adelaide’s first and last chance to see the songs of this iconic ‘60s band incorporated into the musical story of their lives. Ownership of rights and a reluctance to make them available for musical reproduction being the issue.
AFI award winner and Green Room nominee, Peter Fitzpatrick, wrote the stunning story for the production, with musical interpretations by Aaron Joiner. Although Gauci’s production could do with more pace in the dialogue, Fitzpatrick’s story is absolutely the foundation and glue that hold this production together. The music is the icing on the cake.
It is a long show, but one finds oneself enthralled by the drama. The talented cast handle their characters incredibly well. There are standout acting and singing performances throughout the entire production.
Lisa Simonetti is born to play the infamous Mama Cass (Cass Elliot). In her solo number Dream A Little Dream Of Me, shivers roll down ones spine. Here she finds a powerful stillness, lacking during her dramatic dialogue; she oozes stage presence.
As the group’s make-or-break character, Mama Michelle (Michelle Phillips), Fiona DeLaine shows exactly what she is capable of. DeLaine has solid acting chops and is captivating during her later turn as the show’s narrator. She captures the subtleties of Michelle and projects them all the way to the back of the room. But then she sings, and hearts melt. Delaine’s rendition of Dedicated To The One I Love will bring a tear to your eye; a tear of joy. Her vocal quality is such that one may argue DeLaine sings it better than the original.
Her husband, John Phillips or Papa John, is superbly played by Lindsay Prodea who continues to impress with his ever growing versatility. Prodea is musically gifted such that he learned to play the guitar especially for the show. He not only pulls it off but is a dab-hand. Cuts and edits in the dialogue made Prodea’s part, in particular, difficult to navigate emotionally. Here he has some room for improvement.
David Salter makes four in the role of Papa Denny (Denny Doherty), the group’s tenor. Salter is a rare talent and again proves himself in this role, completely owning and living his character. His rendition of Monday Monday is hard not to sing along to, and does the original complete justice. Like DeLaine, Salter relishes in his narration role, completely capturing the audience with his story.
The choreography is perfectly constructed by Shenayde Wilkinson-Sarti, and musically Emma Knights keeps her small band in fine form. For the most part the lighting by Mike Phillips is wonderful, save a few scenes which are very white and far too bright. Gauci’s direction places the action simply and effectively on the stage. Set pieces are navigated, placed and struck effortlessly by the ensemble. More pace in the dialogue, as previously mentioned, would improve the longer scenes, and refraining from unnecessary entrances through the auditorium would be preferable. This odd choice continually breaks the connection.
The supporting cast of Fiona Aitken, Sam Davy, Mim Sarre, Katherine Chase, Fahad Farooque and Alana Shepherdson add the perfect 60s vibe. Their presence lifts the energy of the musical numbers and fills out the vocal harmonies wonderfully.
Alas, I understand the rest of the season is now sold; but kudos to the entire team on a wonderful production. Bravo.
Paul Rodda
When: 4 to 7 Mar
Where: Star Theatre One
Bookings: adelaidefringe.com.au
