12
Oct
16

Boy&Girl

Boy&Girl

Brisbane Powerhouse & Oscar Theatre Co

Brisbane Powerhouse Visy Theatre

September 23 – October 15 2016

Reviewed by Xanthe Coward

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Warning: Coarse language, adult themes, nudity, glitter and show tunes

The sexiest show in town just got better. Better see it at Brisbane Powerhouse before it goes global!

Driving through Fortitude Valley after midnight on a Saturday night is enlightening, isn’t it?

Oscar Theatre Co’s third iteration of their smash hit super sexy sell-out up-late cabaret (let’s make it a hashtag), Boy&Girl would have made the perfect prelude to a messy, sexy night best forgotten by morning an intimate and stylish, sophisticated and special date night. Boy&Girl is a whole new world of lycra, lace and latex, (barely) veiled debauchery, and loads of fun for anyone with a sense of humour and the need for late-night actual-entertainment in this town.

Emily Gilhome designed for Oscar Theatre Company a very simple strategy several years ago, staging superior musical productions  Spring Awakening and Next To Normal and [title of show] – and rapidly building a massive local following comprising artists and audiences. For eight years this humble company could do no wrong (still, can do no wrong), and became something like Brisbane’s James Bond: everyone wanted to be in an Oscar show or be at an Oscar show. They (“He” i.e. Oscar) disappeared for a little while but after a bit of travel and NIDA style life experience, Oscar’s back with a vengeance, well, with a brand new version of the hugely successful Boy&Girl brand: a sexy, racy, hugely popular show featuring some of the city’s best talent. The show is a superb stand alone piece and a fantastic festival opener. A scaled down version (or an even bigger, bolder production) could easily be seen, with the right backers, anywhere in the world.

The winning formula consists of several well known big voices within a company of superior singers and dancers, all dressed for sex, delivering a series of slick and sassy musical numbers, some cheeky comedy, and a couple of flashy circus tricks. It’s as simple as it sounds. But unlike Strut & Fret’s substandard Blanc de Blanc at Brisbane Festival this year (there are no excuses good enough to justify that level of lazy, tasteless entertainment), Oscar’s Boy&Girl delivers. Again.

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Pre-show entertainment (and during Interval too for those who can resist making an additional dash to the bar) gets us in the mood and sets expectations high. That’s if they weren’t already sky-high after viewing Joel Devereux’s publicity shots of the black leather and Lycra clad company. I wondered why there was no photo booth for punters to get a pic with their fave sexy star…maybe next time. Outside it’s noisy, chatty, and inside, as the pre-show banter continues, the mood is so relaxed we could be at a swingers’ party. But it would be a Spiegeltent swingers’ party, such is the glitter induced joy and sparkling natural charm of the performers. The front row consists of well-loved sofas, but with a great deal more white light on them than we had sat beneath during the original Visy Theatre season (remembering the second version was staged in the less intimate Powerhouse Theatre). For someone who appreciates audience participation from some distance and under the cover of darkness, the sofas suddenly seem less alluring…

It’s a slick show, opening with The Andrews Sisters (Simon Chamberlain, Lachlan Geraghty, Patrick Dwyer), a tight outfit, in tight outfits, and they offer an entirely new take on Britney Spears (Oops! I Did It Again). The first big company number, taken from La Cage Au Follies, sets the gender-bending tone of the evening (We Are What We Are), and our hosts, Stephen Hirst and Aya Valentine get things off to a rollicking start. The musical arrangements are terrific and to better appreciate the top notch band, we could do with slightly better sight lines and less distance between us and them. 

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To the delight of the Saturday up-late show crowd, Sam Turk struts and whips her way through Sweet Transvestite / Sex Bomb. Followed by a cutesy double entendre laden Disney medley featuring Stevie Bishop, Patrick Dwyer, Monique Bowdler, Kristyn Bilson and Aurelie Roque.

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Josh Daveta dons a dramatic cape and formidable 6-inch heels to become the evil under-the-sea Ursula (Poor Unfortunate Souls) and slays. And while nothing can ever top the original season’s Single Ladies (an encore performance by special invitation was enjoyed at the Matilda Awards), Lady Marmalade and Big Spender come close – ferocious and full of sass. (Garret Lyon, Josh Daveta, Lachlan Geraghty, Matt Bonasia, Stevie Bishop). The girls shine in Grease Lightning and Roxanne, in which the dancing features more strongly than the vocals, which seem not entirely suited to the vocalist, Alana Tierney. (Chloe Rose-Taylor was absent from Saturday night’s performance). As far as vocals go, for this tough little number, it has to be said that an encore performance of Luke Kennedy and Sam Coward’s passionate rendition of Roxanne would give them a run for their money. 

Speaking of Sam, he either enjoyed Boom Boom more than he’d like to admit, or he’s scarred for life and has expertly hidden the damage behind a diplomatic, “Yeah, that happened” expression.

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It’s unfortunate that, once again, we have dancers and vocalists competing for attention. They probably don’t feel they’re competing but I always love to see a good singer sing without having the distraction of a dancer on the floor. (Sam says hide the band and hide the singer, a la Cirque du Soleil; i.e. bring out the singers for one number and after, wave them off again!). Quite simply, when you’ve got Garret Lyon just give us Garret Lyon.

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Even Ellen Reed, a star singer with a powerhouse voice and stage presence so powerful she deserves her own line of superhero merch in the foyer, gets a little lost behind so much action on stage. Act 2’s pole dancing sequence (Earned It featuring Reed) needs slightly less fire, fewer Pippin tricks, and a bit more pizazz, however; Matthew Bonasia’s strength and grace is indeed impressive and his flesh, ink adorned, is itself a work of art. This is the sequence with the least polish. With a little more focus on the big picture effect it could be the beat change that brings about the finale.

His choreography is still sharp, snappy and oh so sexy but we miss seeing Dan Venz on stage (he’s busy again with Hairspray). Likewise, I’ve always loved Chris Kellett’s cheeky reading of the emcee role but Stephen Hirst’s brazen performance as Emcee/Uncle gives us the gift that is Long John Blues. It’s hysterical and could easily earn him billing beneath Catherine Alcorn in the next tour of The Divine Miss Bette if she was ready to cast boys as her back up singers. This happened once, when she and Tom Sharah were up for the Noosa Long Weekend Festival on the same night. But I digress. Let’s bring it back to Boy&Girl. I’d love to see Tom Sharah featured in the next Boy&Girl…

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The modifications, as much as the style of the show, its talented artists and its savvy, glossy marketing collateral keep us coming back to this show. It’s a complete package, sizzling hot, fresh and bold, surprising, sweaty, sassy, classy and all over much too soon. On another level it challenges the way we see the world, calling us to action in its rousing final ensemble numbers One Voice and Born This Way.

Beg, borrow or steal a ticket to Boy&Girl – it’s the hottest, strongest, longest running/most often returning political campaign cabaret we’ve seen in this state.

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