South Australian theatre is well known for punching well above its weight when it comes to artistic licence. Different approaches abound in almost all theatre companies, where tried and true interpretations of classic shows are often given a new way forward. Therry Theatre has continued the tradition, offering us a refreshingly thoughtful approach to a well known, frenetically written “Jersey Boys” that has hit the mark, capturing imaginations and hearts of their audience in the process.
When one thinks of “Joisee” Boys, the mind’s eye creates a classic 1950’s Americana on show in the burbs of Bellville NJ. The mood is one of forgotten youth, amusing themselves with “B&E” (breaking and entering), assorted other petty crime and dreams of “making it big” as a way out of the mind numbing drudgery that living in the slightly seedy shadow of “The Big Apple” offers. New Jersey itself may well indeed have Lady Liberty within her state borders, but she looks away from her home state, off towards the Verrazano Bridge, with New York taking all the credit. This leaves the usual interpretation of “Jersey Boys” as one of up-beat, culturally hip, fast talking wheelers and dealers snappily forging ahead with quick dialogue and suburban bad-boy stereotypes.
Usually, but not this time. Director Jude Hines gave us a version of Jersey Boys that was a thoughtful, nuanced display that had the audience enthralled. You could see it in their eyes. Jude’s direction placed some excellent acting on show and the audience were drawn into every poetically raised eyebrow, sideways glance or low, thoughtful expression. What in more standard productions may have seemed to be the occasional “awkward silence” between scenes was in fact the audience not wanting to leave the moment. Yes, the acting was indeed that good.
The initial monologue by Trevor Anderson broke the fourth wall and the crowd was hooked by the wonderful storytelling from that moment on. Trevor was superb all night but his finest moment was right there at the start, grabbing the audience by their emotions and never letting go. Then, just like the Canadian Men’s 100 metre relay team in Paris, the baton was smoothly passed between four beautifully talented young young men, each of whom kept up their end of the running narrative. Particular accolade must go to Sam Davy who slotted into one of the principal roles of Bassist “Sam Massi” due to an unfortunate injury experienced by the original cast member, leaving Sam with only weeks to prepare. It was “the show must go on” ethic at its finest, and Sam held his own wonderfully.
The inimitable Lindsay Prodea played the role of Frankie Valli, showing us a falsetto voice that did the job, but once again it was the fine acting skills that Lindsay is so well known for in Adelaide Theatre circles that impressed. His selected tête-à-tête scenes with another Adelaide musical theatre icon Nikki Gaertner Eaton showcased both these actors’ abilities to deliver thought provoking dialogue. Sam Wiseman played a very amusing “Joe Pesci” and Tom Adams was superb as the sparklingly camp music promoter “Bob Crewe”. The band was tight and snappy under the capable musical direction of Leanne Savill. Those famous harmonies never missed a note. Choreographer Linda Lawson had the archetypal “doo-whop” moves right in the audience’s face in all their cheesy 1950’s over-the-top glory.
The standout for this show was newcomer to Adelaide Musical Theatre Philippe Quaziz, playing the part of keyboard player and songwriter Bob Gaudio. Philippe has brought his considerable experience gained around the world to the Adelaide stage. It was a pleasure to enjoy Philippe’s presence, movement and voice. A big “bravo” must also go to the cast and crew for handling all 52 scene changes with seamless alacrity.
Therry Theatre has once again graced the Adelaide Arts Theatre stage with a superbly acted and audience enthralling version of “Jersey Boys”. Mark this one down as “not to be missed”.
