I have seen three previous productions of “The Boy From Oz”, including the original professional production starring Todd McKenney. The musical version of singer/songwriter Peter Allen, who helped place Australia on the international entertainment map, has always impressed me. But, this version, thanks to the directorial vision of Selena Britz blew me away with its heartfelt emotions, both dramatic and humorous.
Britz obviously has a deep love for this musical, perhaps stemming from the fact that she played Liza Minnelli in the Met’s previous production a few years ago. She ensures that the lighter moments are good fun and that the dramatic moments pull at our emotions big time. She also, along side of Leonie Osborn, designed the simple but extremely effective set design. It’s symbolic in concept but gives us a clear impression where we are any given time.
Carmel Vistoli’s choreography emulates perfectly the different time periods and styles of dance. Musical Director Jane Feast needs tighter control of her band – on opening night the trumpet was totally out of tune throughout the entire show.
The ensemble work well throughout the show and give great choral support to the leads, especially in numbers such as “Quiet Please” and “I Still Call Australia Home”. Minor roles are performed well by Daniel Whitehead as Chris Bell, Brad Martin as Dee Anthony and others, and Zachary Baseby as Brian Henderson (although glasses would have helped make the impersonation easier to pick). Special mention needs to be made of Mark Gamtcheff as Peter Allen’s brutal, alcoholic father, Dick Woolnough. It’s a small role but a very essential part of the show and can be so easily played over the top, but Gamtcheff handles it well.
Daniel Scott plays Allen’s boyfriend, Greg Connell, with a nice easiness and shows his voice off well in “Honestly Love you”. As Allen’s backup singers, The Three Divas, Chloe Dunstan (Karen), Jasmine Howis (Sheena) and Bess Simper-Brown (Linelle) are all fine singers individually but unfortunately don’t gel vocally as a trio. Dani Panfilo doesn’t quite pull off her Liza Minnelli impression – she needs to be more manic when she talks and speak in a higher, squeakier voice, but she performs “I’d Rather Leave While I’m In Love” beautifully.
On Opening Night, Young Peter Allen was performed by little pocket rocket Nemanja Ilic. No wonder he was cast as Young Elvis in the professional musical “Elvis The Musical Revolution” earlier this year – this young man is already a triple threat. He stole our hearts every time he appeared. He delivers one of the best lines in the show and brings the house down. It’s apt that he sings “Name In Lights” because I’m sure we will indeed see his name in lights.
Another who stole our hearts every time they appeared was Heidi-Rae Abbey as Allen’s mother Marion. Abbey exuded motherly love and charm and when she sang “Don’t Cry Out Loud” we as an entire audience ignored her instruction and blubbered for a good ten minutes after. Hers was the best rendition of one of my favourite songs that I have ever heard.
How difficult would it be to play a screen legend and star the calibre of the late great Judy Garland? Bronwen James has no problem at all convincing us that she is the great Diva at the end of her career and life. James is simply stunning and IS Judy!! From the minutest physical features to the exactness of vocals, one would swear the Ms Garland had come back from somewhere over the rainbow.
Playing the man himself, Lindsay Prodea had me at “Hello Adelaide” – and everyone else as well. Prodea packs punches the whole night long. He channels Peter Allen to the nth degree. We laugh with him, we cry with him! Prodea has all Allen’s cheekiness and flamboyance about him – but sings a whole lot better. Prodea’s natural charm and confidence fit the role perfectly. This is indeed a performance that must be seen.
Show your patriotism and go see “The Boy From Oz”, even if it’s just to soak up the performances of Prodea, James and Abbey.
Photo credit: Daniel Salmond
