Oscar Theatre Co
April 3 – 19 2014
Reviewed by Xanthe Coward
Trust Oscar to put on the sexiest show in town! Their girls are hot and their boys are hotter, regardless of your preferences. But what makes this show spectacular spectacular is a lot more than the eye candy – these kids can sing and dance y’all! And they always have done – you’ll remember Spring Awakening and Next To Normal – and this show, which evolved as the Lightspace Cabaret Series, is the next logical step, proving beyond a shadow of a doubt that Oscar is here to stay. And thank Adonis for that!
There’s a blatant message behind this show, and that’s SAME (SPECTACULAR SPECTACULAR) SAME. I hope to all the Greek Gods that you’re not still struggling with the notion of same-sex relationships (if you’re reading this blog, let’s face it, probs not!), but if you are, you sad, sad excuse for a human being, all the more reason to climb into an old sofa in the front row and HAVE YOUR MIND BLOWN!
While some are still insisting on trying to fit cabaret into a neat little box, Oscar goes beyond definition to create a gender-bending, mind-blowing phenomenon that you’ll experience and want to experience again, immediately. It’s not often we see something with the awesome, powerful, positive sexual energy to lift us out of our seats shouting, “Again! Again!” And look, no, it wasn’t just me. A packed house roared their appreciation at the end of the show, already having clapped and squealed throughout it in pure delight. Being able to bring drinks into the space is obviously essential to the atmosphere, but actually, during Interval, Adam and I lounged – literally – and chatted away, taking in the high-voltage vibe and wondering aloud, “Where does Emily FIND these performers?” Or do they find her?
In Chris Kellet we have an Emcee in true Cabaret tradition. To open with Wilkommen makes perfect sense, setting the ambience with ease (helped already, before we even begin by the band, led by MD Dale Lingwood and cast members strategically
placed posed amongst the punters), and allowing us – especially those of us right under the, er, noses of the performers, admire an entirely new perspective on the number, choreographed by Dan Venz. The impact of the full company is felt at once, and not again until an extraordinary homage to West Side Story, ringing out that core message loud and clear, to bring the evening to a close. The voices are rich and full, befitting the well-loved score, and we are convinced. There is indeed a place for us, no matter who (or what) we are. In between, of course there is naughtiness! And some standout performances, including a gorgeous Andrew Sisters style arrangement of Call Me Maybe (Conor, Dakota & Dan), Conor Ensor’s touching Sandra Dee/There Are Worse Things I Could Do, Aya Valentine’s riotous take on My Girlfriend Who Lives In Canada, the expertly executed Cell Block Tango (all the boys), and Single Ladies (Garret, Adwan & Andy). Oscar’s very own Bath Girl seems an odd – but not – inclusion and I hope there’s another show for her (and her South Pacific cum Rubby Ducky parodying boy chorus); it’s as if this one couldn’t NOT go into the final mix, but there might be a better fit within a future vision. And there are moments of contemporary dance that almost take away from the vocalists’ work, but I let those moments slide because the dancers are good; precise and emotionally present, earning their place in the shared space. THIS TIME.
It’s with surprise and delight that I take on board the gender-bending vocals and physicality of the cast (who knew Rizzo could be such a sensitive guy?), and so it’s with some surprise also, that I realise later Bring on the Men is performed entirely by the girls, as per its original context from Jekyll and Hyde. And would that not have been an interesting piece for the boys to explore?
If for no other reason, you should probs see this show before we lose Venz to Vegas; surely that’s his destiny, or at least within his sights. Not only a hot, sharp mover and shaker, he’s choreographed the whole thing, beautifully lit by Jason Glenwright. Now THAT’S more like it, Mister! Light up those guys and dolls! Very clever, the way Ms Gilhome gets people together to create a little somethin’ somethin’…
This little somethin’ somethin’ is absolutely sizzling so see it before it sells out! Or… Perhaps it’s already too late and you will only have everybody else’s party stories to go by. That’s sad. For you. This fun fiasco finishes next weekend. Get on it, get a ticket and get to it!
Aaand roll credits…
Director: Emily Gilhome
Choreographer: Dan Venz
Music Director: Dale Lingwood
Lighting Designer: Jason Glenwright
Designer: Falco Fox
Assistant Director: Jack Kelly
Photography Design: Joel Devereux
Band: Dale Lingwood, Gene Stevens, Justin Bliss, Daniel Robbins
Company: Adwan Dickson, Aimee Butterworth, Andrew Kanofski, Ash McCready, Aya Valentine, Chris Kellett, Claire Walters, Conor Ensor, Dakota Striplin, Dan Venz, Danny Lazar, Ellen Reed, Garret Lyon, Jack Kelly, Jacqui Devereus, Jakob Evelyn, Kimie Tsukakoshi, Michael Hogan, Shannon Metzeling, Shelley Marshall, Vanessa Friscia, Josh Daveta