Funk Soul Productions is a relatively new theatre company, starting in 2023. In their own words, they are a “small company of emerging Adelaide performers that believe in creating theatre for young people by young people.” Further, their ethos is to provide an “industry-level experience” for their members. So, they are a young theatre company that is aiming high, and if this production is anything to go by, their aim is true, and they’ve hit their target.
“The Guy Who Didn’t Like Musicals” is … funky! Often described as a horror comedy musical, the music and lyrics are by Jeff Blim, and the book is by Matt and Nick Lang. It was originally created and produced by StarKid Productions, an American production company that has been creating musical comedies since 2009, including “Twisted” – a parody of Disney’s Aladdin – which was successfully presented in November last year by Adelaide’s Marie Clark Musical Theatre.
The Guy Who Didn’t Like Musicals is a musical comedy about a man named Dave, who hates musicals but ends up finding himself in the midst of one that is the result of an alien takeover. (Funky!) Throughout the story, he grapples with his reluctance to embrace the genre, only to eventually experience the joys of musicals through his own participation. The musical combines humour, catchy songs, relentless pace, and a heartwarming narrative, but don’t go looking for anything too deep and meaningful – you won’t find it!
Many of the cast and crew have or are being professionally trained, and it clearly shows. The cast compromises Flynn Turley, Anna Symonds, Harry Liam, Neve Sargeant, Parisya Mosel, Samuel Cannizarro, Teagan Garvey, Immi Beattie, Gracie Greenrod, and Henry Cook and Amelia Baldock (as swings). To an actor, all characterisations are superbly crafted: high energy, keen understanding of text supported by skilful body language to enhance and shape meaning, and detailed off-dialogue work that is simply a joy to watch. No actor wastes an opportunity to layer their work, never – there is always something happening that adds to the audience’s enjoyment and understanding. They all stand out and command attention at various times.
Allycia Angeles’ choreography is terrific. It is high energy, snappy, always empathetic to the music, and, crucially, well executed by the cast who work together as a well-oiled machine (but never routinely or without soul!). There are no weak links. It is classy.
The production uses a recorded backing track, and music director Immi Beattie (who is also co-director with Gracie Greenrod) has done a fine job with the cast, but there are sound engineering issues. Frequently, the lyrics of songs sound muffled and are lost, resulting in a key component of the comedy being lost. There is skill in using body microphones, and singing loudly to give the amplification system something to work with is the starting point. Having said that, even if one couldn’t always clearly discern the lyrics, the cast are all such skilled ‘word painters’ and the choreographed movement is so well designed as to fill in the gaps!
The lighting design is excellent and well executed. Just as the actors use their bodies to embellish the text, so too does the lighting – its design effectively enhances the setting and the mood of the action. The cueing is snappy with near perfect timing. Kudos to the operator.
The set is is simple and functional comprising a cut out cityscape silhouetted in front of a cyclorama that is always boldly lit. The cast act as stage crew and bring on and off various furniture and other items. Hidden paniers on the back of chairs work a treat as receptacles for telephones and various hand properties that magically appear! The set changes are also beautifully choreographed and accomplished with style and speed. It all adds to the pace of the show that never flags.
The costumes are also terrific and well thought out. Their design adds detail to every persona on stage – they always have something to say about the context of the action and the characters. Costumes aren’t just clothes!
Although the entire cast and production team have tirelessly worked and collaborated to produce an enjoyable piece of theatre, special mention must be made of director Teagan Garvey. Not only did he make a fine ‘Professor Hidgens’ (and other small roles), but he also had a hand in lighting designing, sound production, set design, set construction, painting and transport, and costume design. His hand is all over this production. He clearly has soul.
This musical is quite unlike most musicals that are presented in Adelaide (and elsewhere!). It is quirky, fun, high energy, well produced and definitely worth seeing.
