The Metropolitan Musical Theatre Co. Arts Theatre. 9 May 2014
Move over, Todd McKenney! Step aside, Hugh Jackman! You'll need to, to make room for the latest, mid-Elvis-sized Peter Allen reincarnation, David Salter. More on him later, but let me tell you about this production. In a word - stunning.
In case you have been stranded Douglas Mawson-like in Antarctica for the last fifteen years - and were not one of the 1.2 million Australians who saw the original production in 1998-99, or the reprise in 2006 - The Boy From Oz musical is Nick Enright's love letter to one of Australia's greatest songwriters and entertainers, who passed away in 1992. Enright links Allen's country town upbringing, his childhood performances at the local pub, and his mother's unwavering support, with the swings and roundabouts of his concert and songwriting career. Allen's improbable encounter with Judy Garland in an Asian night club led to his marriage to Lisa Minnelli, which ended amicably after seven years in 1974, as his homosexuality came to the fore with the changing times. No, I'm not making this stuff up. Enright seamlessly weaves this narrative with Allen's songs and this is where David Salter comes in. But more on him later.
This is a high octane production that does not stop for a breath. While Leonie Osborn had to take over direction, the panache of original director Max Rayner and his casting choices remain side-by-side with Osborn's re-imaginings. It's a fast-paced dancing and singing extravaganza designed to exemplify the showmanship and hard work of Peter Allen. Carmel Vistoli's choreography has the hoofers working with springs on their feet while Jillian Gulliver's orchestra is absolutely first class. The costumes (Osborn and Vistoli) have the wow factor. ‘I Still Call Australia Home’ and the finale ‘I Go To Rio’ were big passionate numbers.
There was a lady on stage. Bronwen James's Judy Garland was absolutely magnificent in her imagineering of the aging and fragile star. Bravo! And the lady's progeny was also on stage. I did not see anything but Liza Minnelli in Selena Britz's impersonation. Everything was there - the brash voice, the killer vibrato, the gestures. Britz's feature song was an absolute show stopper. Bravo! Both of them inhabited the professionalism and sense of destiny we sensed in the originals. While never really in the same room on stage, these two were impeccably mother and daughter. Angus Smith, one of the best character actors on the scene, was called upon to generate a number of individuals with great skill.
David Salter has gone from strength to strength with Chorus Line in 2012, the cheeky Hispanic in Altar Boyz last year, and now Peter Allen. You needed a real sweetheart for this role - someone who connects with an audience, can hold a rapport, and shows them the razzle-dazzle. Who can bang away at the 88s singing into the mike, and then next second shimmy that shiny shirt dancing across the stage. Who can look crestfallen at the demise of his mother-in-law and then his lover, and show you Peter Allen's love of life and conquer his larger-than-life personality. Here David Salter does it all. Bravo!
There are two other performers of worthy note. Post-toddler/pre-adolescent Joshua Spiniello was inspirational as the young Tenterfield progeny Peter Allen (you may see Ned Baulderstone on another night). Only ten, he already has seven years’ experience and I'm sure we'll see more of him. And last, but sadly not least, is the robotic piano, slithering across the stage like a giant sea slug, intent on nudging the actors out of the spotlight.
Well, there you have it. Bravo to the Met!
David Grybowski
When: 8 to 17 May
Where: The Arts Theatre
Bookings: bass.net.au
