Originally premiering in 1939, The Man Who Came to Dinner is firmly rooted in its era. While some of the topical references and celebrity names are less familiar to modern audiences, Adelaide Repertory Theatre’s production embraces the play’s classic charm, presenting it with style, commitment and an obvious affection for this enduring comedy. The story centres on a simple dinner invitation that spirals into delightful chaos when the sharp-tongued and demanding Sheridan Whiteside becomes an unexpected long-term guest, turning the Stanley household upside down.
Director Sue Wylie and Assistant Director Rose Vallen confidently marshal a large cast through the constant comings and goings that are central to the play. Despite the complexity of the production, the numerous entrances, exits and character interactions remain well organised, creating the convincing impression of a household gradually being overwhelmed by Sheridan Whiteside’s increasingly chaotic world.
Peter Goers brings an undeniable stage presence to Sheridan Whiteside, commanding attention even while his character is largely confined to a wheelchair. Alongside Whiteside’s famously sharp wit, Goers also reveals the character’s more compassionate side, particularly in his mentoring of the Stanley children. On opening night there were moments where the rapid-fire dialogue did not always achieve the crisp timing the role demands, but his portrayal remained engaging throughout.
Jess Corrie gives one of the production’s standout performances as Maggie Cutler, Whiteside’s devoted secretary. She brings warmth, intelligence and genuine affection to the role, while her developing relationship with Bert Jefferson (Matt Chapman) is both believable and heartfelt. Helen Geoffreys injects glamour and energy as the manipulative Lorraine Sheldon, while Michael Griffiths is an undeniable scene-stealer as Beverly Carlton. His charisma, impeccable comic timing and entertaining musical interlude at the piano provide one of the evening’s highlights.
Rob Cusenza demonstrates remarkable versatility in the dual roles of Banjo and Professor Metz. So distinct are his characterisations that it wasn’t until reading the programme afterwards that I realised both roles were played by the same actor. His energetic, highly physical portrayal of Banjo, complete with delightful comic flair, proved a particular audience favourite. Penni Hamilton-Smith is equally memorable as the long-suffering Nurse Preen, whose wonderfully expressive reactions and steadily mounting exasperation generated some of the evening’s biggest laughs, culminating in well-deserved applause following her memorable resignation. Brenton Whittle provides an effective anchor as the long-suffering Mr Stanley, offering a grounded contrast to the parade of eccentric visitors. The supporting cast is consistently strong, with every character quickly establishing a distinct personality and contributing to the sense of a household delightfully overrun by family, staff and unexpected guests.
The period setting is beautifully realised. Gary Anderson’s elegant drawing room, built by Barry Blakebrough and Stanley Tuck, captures the grandeur of the Stanley home while providing a practical space for the action to unfold. From the chandelier overhead to the carefully chosen furnishings and impressive props, including a striking Egyptian sarcophagus, the attention to period detail is evident. Wardrobe Managers Laura Gane, Rebecca Jarratt and Jenny Kwok complement the setting with costumes that not only reflect the era but also help distinguish the many colourful personalities who pass through the Stanley household.
Lighting by Ian Barge, operated by Anthea ‘Harold’ Browne, effectively supported the action throughout, while David Sinclair’s sound design, operated by Stage Manager Misch O’Keeffe, complemented the production with appropriate period music and well-timed sound effects. There were some minor opening-night technical hiccups, but they did not detract from the overall enjoyment.
Adelaide Repertory Theatre’s The Man Who Came to Dinner is a visually polished show, supported by strong performances across the ensemble. Memorable characterisations and plenty of theatrical charm combine to create an enjoyable evening for lovers of classic comedy.
