Chris D’Arienzo’s
Rock of Ages
By Abbey Musical Theatre
Directed by Phil Anstis
 
Review date - 23 November 2017
 
Okay, so I hadn’t done my homework on Rock of Ages before I rocked up to Abbey Theatre’s opening night (ignorance isn’t all bad) so I had no idea what it was about, and zero expectations.  My theatre companion for the night was harping on about how she’d always wanted to see it and blah, blah, blah, but to be fair some of her entertainment choices are a bit questionable.  Settling into our seats and leafing through the programme together we hit the ‘musical number’s’ page and gave each other the smiling version of a high-five!  From Bon Jovi’s ‘Dead or Alive’ to Foreigner’s ‘I Want to Know what Love is’ there was an impressive list of absolute bangers to look forward to.  I got excited.
 
Set in the legendary ‘The Bourbon Room’ of West Hollywood fame, the stage came alive with music, colour, dance and some great laughs. Skipping in and out of the role of narrator and character Lonny Barnett was Nick Ross – OMG!!!!   What a funny guy.  He really was a bit of a legend, honestly, I don’t know how to encapsulate effectively how great he was as he skilfully injected laughs at just the right time.  Rock on Nick Ross, I salute you.
 
As one of the lead characters, I recognised Riley Booth (Sherrie Christian) from many singing events and knew her singing would be exceptional.  What I wasn’t expecting was for her to be a triple threat, also excelling in dance and acting.  Riley left nothing behind, she was a tender yet gutsy and totally believable character.  A performance of this calibre for her young age was absolutely outstanding.  Riley was truly a star of the show.
 
Another absolute rock star was Liam Taylor as womanising Stacee Jaxx.  Liam has impressed me before and did not fail to again.  Total embodiment of his character and great commitment to some challenging songs Stacee Jaxx was the rock god every groupie wanted to be with.
Tyrell Beck as Sherrie Christian’s love interest Drew Boley expertly managed the depth of emotion required for the kind and tender role he played. I've seen Tyrell in a previous show and it was great to see him play a totally different role with the same high standard of acting.  Some notes in the numbers he had to sing were a challenge for him to reach but he committed to them none the less.
Jason Harkett (Franz Klineman) with his caricature-style German accent was a crowd favourite with his unerring commitment to character.
 
The band was handily inserted into the show and residing on the stage, a great option, as they kept everything rocking along. I reckon musical director Michael Doody managed all the music stuff well because there was a lot of it weaving its way through characters, and timing was crucial.
 
High energy dancers filled the stage with va-va -voom and brought ‘The Bourbon Room’ to life, they must have been exhausted by the time the curtain came down.
 
Rock of Ages is a fun and exciting show to watch with some standout performances and great music. Although there were a few sound issues on opening night they in no way affected the enjoyment of the show and should be ironed out before subsequent showings. 
Abbey Theatre has really rocked this one and laughs came readily from a well entertained audience.
 
 

Ropable
By Ross Gumbley and Allison Horsley
Directed by Dan Pengelly
Centrepoint Theatre
 
Review Date: 4th November 2017

Centrepoint’s latest production Ropable opened on Saturday night. Advertised as a ‘Killer Christmas Comedy’ you may guess that it’s a bit of a black comedy, and you may not guess that the Christmas part refers to the fact that Centrepoint are bringing it to you near Christmas time...
Adapted for our local audiences’ particular enjoyment, this version of Ross Gumbley and Allison Horsley’s Ropable is set in Shannon with a lot of witty one-liners and colloquial knowledge that weaves extra fun into the show. As young ghost writer Eden Forsyth plans her wedding at the 'Shan In' to celebrity Monty Parker, who has been married a few times before, it seems Eden might be getting entangled in a 'bad romance'. Surprises abound as Norma the manager of the 'Shan In', Auntie Prudence, and Eden's mother Constance, all attempt to intervene to protect Eden from Monty's unfaithful and drug-fueled ways. But things are never what they seem...
An older audience may get extra kicks out of this Alfred Hitchcock murder mystery parody but younger people will not miss out on any of the fun for not knowing (as was evidenced by my thirteen year old’s enjoyment of the show).  Everything needed for a bit of fun and frivolity was there, from sexual innuendo, frights, great props, suspense, and good old fashioned laughs, to psychological thrills and spills.
A strong cast kept Ropable tight, their strength and skill knitting together to make sure the comedy delivery didn’t unravel into awkward or cringe-worthy moments.  Carrie Green’s role as Norma Bates the manager of ‘Shan In’ was wonderfully portrayed, her combination of intimidation, sexual prowess, physical comedy, and deadpan deliveries coming together in a terrifyingly funny way.
Mark Wright was a bit of a surprise.  At first I thought he was not really pulling off his role as Monty, but it turns out he was playing his role as an annoying, idiotic, philandering  ****hole really well.  Later when Eden’s father Nigel wanders on stage unexpectedly, it took me a while to realise it was Mark Wright in more than simply different clothes.  Both roles were poles apart and my feelings towards them were too.
Innocent Eden played by Torum Heng strung everyone along, Eden’s mother Constance played by Lori Dungey brought colour and va-va-voom with her, and Auntie Prudence played by Yvette Parsons performance was a real ‘scream’!
Excellent use of lighting and sound effects provided great mood and brought shock elements to life.  The set lent itself to producing a larger than life environment to work with, from the upstairs vertigo suite to the sauna and outside to some amusingly named landscape features. Imaginary places fed by clever set arrangement expanded the play into the unseen.  Alfred Hitchcock references riddled the set, and a keen eye will find plenty to smile about.
Ropable doesn’t take itself seriously, everyone’s there for a bit of a laugh and there’s plenty to laugh about.  If you feel like unraveling from the stresses of the silly season, check into Ropable’s ‘Shan in’ and enjoy a rollicking ride.

Tease-o-Rama!
Centrepoint Theatre
27th October 2017
Director Ian Harman
 
BURLESQUE! BOOM, BOOM! 
 
Centrepoint Theatre was transformed into a haven of French-style glamour to celebrate the 10th anniversary chapter of The Boom Boom Room Burlesque with Tease-o-Rama! As expected from director Ian Harman a highly polished show, combined with a classy set provided great entertainment for a spellbound crowd.    A full house lined up for Friday night’s premiere, some raucous and some getting into the spirit of it all and dressed to thrill...
 
Flesh, feathers, sparkles, sweetness and oh so much teasing kept an enraptured audience eating out of these ladies well manicured hands throughout the show.    The alluring French accent of an off-stage MC wafted over the audience providing excellent entertainment as each delicious lady was introduced with their alter ego names matching a variety of fun themes. Costa DeMillion showed off her mastery of the art of burlesque revealing her years of experience with The Boom Boom Room with exceptional performances.
 
Mistresses of tease, these glamorous ladies were delightfully attired in a range of the most beautiful (and well fitting) lingerie – costuming on point.  I seriously chastised myself for my own ill-fitting, mismatched and shabby underwear choices and wondered how I might look in high heels, pretty lingerie, and just of dot of the sexiness of the burlesque babes – oh la la!  
 
I’m not sure whether the audience knew quite how to respond, sometimes it seemed there was a bit of enchanted silence which might not be the desired response.  Personally if I was going to dance around in my lingerie I’d expect people to be screaming with delight. Someone who does know how to make an audience respond the way he wants is Mr Lola Illusion (Ian Harman) who offered some magical moments, some vulnerability, and a decent  shaking of his tail feathers!
 
It’s too late to catch Tease-o-Rama! now as its limited two night showing is over, but The Boom Boom Room is bringing a new show soon to which I would highly recommend you attend.

Enda Walsh’s
Chatroom
The Darkroom
Director: Jenna Kelly

18th October 2017
 
Last night I had the pleasure of attending the opening night of Chatroom, Jenna Kelly’s directorial debut at the The Dark Room.  If you’ve never attended a show at this little gem of a theatre, do not be intimidated, it is a welcoming, friendly little nook with all the essentials like eft-pos and drinks – rock on up and enjoy yourself.
Anyway, Chatroom, I have to admit that I thought I might be a bit old to enjoy a teen internet chatroom drama, would I even understand their lingo? Well, I took a front row seat and felt like I was really part of the action, even though there really isn’t a lot of action.  There’s a minimalist set, just the bare necessities which with good use of lighting and sound, works perfectly and does not detract from the strong, dialogue driven act. 
I found myself really immersed in the chatroom conversation between these teens, all six parts delivered a compelling and believable act and expertly showed how quickly things can get out of hand under the cover of online aliases, with the group quickly splitting into a hero’s versus villains aesthetic.  One actor’s delivery was perhaps slightly hampered  by an overly rushed delivery of lines, hopefully just first night nerves, but the rest of their performance was well formed. Excellent characterisation by all actors brought teenage behaviour to life well, I low key had melancholy pangs for my (long) past teenage life.
Finn Davidson offered an exceptional performance as depressed teen Jim.  His tender and subtle yet strong performance was awe-inspiring and just what was needed to handle the delicate issues of his character.
I commend Jenna Kelly on her directorial debut.  Chatroom, is a thoroughly well delivered show for all to enjoy. 

​Songs for Nobodies
Centrepoint Theatre
Palmerston North

Directed by Ross Gumbley

19th August 2017
 
Prepare yourself for an adjective heavy review! Showing restraint with words and enthusiasm will be impossible. Johanna Murray-Smith’s Songs for Nobodies starring Ali Harper leaves an impression on the soul.  It is not challenging, in your face, or fast-paced, but peaceful, delightful, intimate, nurturing, funny, genuine, delicate, melancholy, and real.  It’s an experience that must be felt to understand, and although we sat as a captive audience I suggest each and every one of us felt that we had Ali Harper's undivided attention. Her gentle eyes reached inside me and said ‘relax’, I trusted her as if she’d held my hand and taken me on a remarkable journey through the lives of five remarkable, as well as five unremarkable, women.
I am truly almost lost for words that could do justice to such an experience.  In arts of subtlety, the crew behind this production are clearly experts.  Disguised behind plain screens, a trio of musicians led by talented musical director Richard Marrett, supported Ali Harper’s incredible vocals which perfectly evoked the character she represented.  Clever but understated lighting seemed to imbue the souls of past legends into Ali’s performance.  Embodying such a vast range of characters Ali’s accents built the individuality of every persona and was (what’s a word with more impact than ‘impressive’) awe-inspiring. 
I am so full of admiration for this woman’s performance I could actually weep, as it was, my fellow theatre-goer did wipe away a few tears of respect and admiration.  The moment Ali Harper strolled on stage in a brown dress and wig and gently looked the audience in the eye was magnetic, maybe she hypnotised us...  How such a drab costume and nothing more than a chair on the stage could be transcended and given so much life is a mystery.  
This performance ticked all the boxes, with music, lighting, sound, and acting, so beautifully and seamlessly polished as to produce a life of its own. Such a stunning performance here in Palmerston North is a treat of immeasurable proportions.  Hats off to Centrepoint for securing such a high quality performance that would be received anywhere in the world (surely) with great delight.
I’m not usually a second time viewer of anything – books, movies, shows, but I can feel Ali Harper calling me back to this unique show.  Songs for Nobodies is a show that nobody should miss.  It’s a full-bodied, almost spiritual experience.  Thank you, Ali Harper and crew, I am full of admiration. 

The Full Monty
Abbey Musical Theatre
The Auditorium
Palmerston North
 
Director Steve Jenkins
 
13th August 2017
 
The Full Monty, a full-bodied version, oh boy!  The cast of Abbey Musical Theatre’s latest offering really let it all hang out as they seek to recreate the theatre version of this award winning show.  More than simply gratuitous nudity though, these down on their luck, blue collar workers expose more than just a bit of flesh.  As an audience we’re there for the story – isn’t that how it goes (wink, wink)...
It’s true to say that you will see the ‘full moon’ maybe sooner than expected but let me assure you that there is a storyline – one you may know of if you’ve seen the original movie or another version of the theatre show. 
An industrial themed set nicely evoked the factory workers Sheffield location and sat comfortably on the stage.  Gritty, grey and full of action the stage was brought to life by a talented cast complete with some tragic fashion, horrible hairdos and cringe-worthy Yorkshire accents.  It all works nicely to deliver a punchy and realistic story-line with some great acting and clever, well delivered comedy. 
Sam Gordon and Nick Ross bounced off each other with vigour as best mates Jerry and Dave, displaying masculine bravado as well as sharing some more tender moments.   Nick Ross’s portrayal of big softie, slightly stupid, Dave was exceptional and his comedic timing always expertly delivered.  Dave’s relationship with wife Georgie,  was honest and tenderly played out.  Katie Monaghan’s role as Georgie a brash but lovable outspoken woman brought a high energy, very enjoyable character to life. Playing the son Nathan torn between his mum Pam (Sarah Donnelly) and Dad- Jerry’s- financial and custody dispute, Isaac Gregory performed an excellent role.  He was both believable and endearing, and a salve to soften the edges of some tough issues.  Sarah Donnelly’s portrayal of the protective parent, ex-wife role was well delivered and carefully balanced.  Jessie Feyen (as Vicki) brought some real sparkle to the scene and was a heartily enjoyable character to watch along with her husband Harold (Ben Pryor).  The cast really worked so well together that it is hard to separate them from the story; they performed seamlessly and cohesively, pulling together a great show.
Insecurities, financial hardship, body issues, and stripping delivered in a high energy, high comedy format made this version of ‘The Full Monty’ really enjoyable show to watch.   Director Steve Jenkins produced a risqué comedy that had the audience laughing out loud.  It was a great way to spend a cold evening, and the nudity was...revealing. 

William Golding’s
Lord of the Flies
Adaptation Nigel Williams
​
Centrepoint Theatre
July 15th
Directed by Jeff Kingsford-Brown
 
A long island iced tea was a great accompaniment to carry into a disorienting set as I was dragged into what seemed like unfamiliar surroundings at Centrepoint Theatre for the opening night of ‘Lord of the Flies’.  My thirteen year old daughter who’d auditioned for a part (unsuccessfully) was eager to get in and check everything out.  Time to look around at what was a dramatically different set from usual was a good thing and we debated whether it was actually sand that covered the stage or amazing special effects – I was firmly of the side of sand and in the end I created a distraction allowing Miss thirteen the opportunity to get close enough to touch it, and yes it’s sand.  I’ll leave the rest of the set as a surprise element (apart from revealing that it is basically a giant sandpit) because I don’t want to spoil what is a pretty neat experience of discovery.
Sci-fi style music set an eerie scene and being ignorant to the story I wasn’t sure what was coming. Miss thirteen leaned forward and whispered to me ‘you’re going to cry, I’ve just remembered some pretty brutal scenes and ugh...’ she shivers.  As I braced myself and watched people file into their allocated seats amongst a surreal environment, I felt a little bit like I was at an amusement park waiting for a ride to begin, I envisioned a white knuckle experience.
Momentarily we were bathed in soothing yellow light bringing to life a scene of golden sands and blue skies, a sort of freedom and utopia for the children who survived a plane crash.  But this is short-lived, as unruliness gives way to power struggles, to bullying, a battle for survival, fear and murder.  There’s blood, bones, fire and an unapologetic battle of good and evil, it’s a relief to come up for air at half-time.
This mixed-genre re-enactment of ‘Lord of the Flies’ showed some stunning performances.  Comfrey Sanders’ portrayal of Simon was outstanding.  Miss thirteen singled her out as her favourite character.  Similarly Ella Hope-Higginson’s portrayal of Jack was chillingly on point, I hated her psychopathic bitchy character in an all too real way and had to remind myself that she was clearly doing a great job and probably in real life was quite a nice person.  As Roger, Nathan Mudge had me concerned that his grasp on his role came all too naturally, watch out for that guy (but again probably just great at his role). As the voice of reason and maturity Leighton Stitchbury’s – Piggy, was bullied and taunted, a role he nurtured carefully, winning the hearts of a sympathetic audience.  Michael Van Echten playing lead character Ralph, was torn between the voice of reason offered by Piggy and the fear of being weak which was constantly being pointed out by Jack, it seemed an emotionally exhausting role to play.  A well rehearsed ensemble cast brought solid support and authenticity to the gritty reality of their situation.
Some clever techniques brought the set to life and the aesthetic the sand provided as well as the position of the stage allowed the audience a 3D fly on the wall experience.
The strength of this story was crucial to the success of this play yet this adaptation was strong, thrilling and slightly disturbing, a combination that leaves a kiss of fear on your skin.   

Forbidden Broadway
By Gerald Alessandrini
Directed by Andrea Maxwell
The Auditorium
Palmerston North  
Review Date 20/05/2017      
 
 
Balancing my handful of chips and a mini bottle of wine on my  lap at Abbey Musical Theatre’s latest production ‘Forbidden Broadway’ I leafed through the programme and felt a bit ignorant – there were a lot of acts I hadn’t experienced in their original form,  maybe I wouldn’t understand the parody act.  It seems the more theatre you’ve experienced the more you’ll get out of this show – sort of like a reward for your support. It’s really a bit of an inside joke and Abbey Musical Theatre invite you to have a laugh at their expense.
 
Musical director Kirsten Clark is the first to take to the stage.  She takes her place behind the piano and that’s where she stays for the entirety of the show.  She both fades into the background and interacts with the cast throughout – a role she carries out seamlessly and naturally.  The programme informs me that Kirsten might be ‘sh*tting herself’ to be sitting on the stage playing the piano – it’s a huge responsibility after all, but one that she carries off beautifully. 
 
The show starts and it’s all a bit weird and disconcerting. Everything seems a bit off-centre and under or overdone.  It takes me a couple of acts to really grasp what they are up to.  I come to realise I’m over-thinking things and need to just go with it. Time starts to fly by and we are really enjoying a great laugh.  I cannot possibly begin to mention everything that happened because so many things did – but it was light-hearted, joyful, inclusive, insightful and intimate.
 
Abbey theatre really made a meal out of this production and I enjoyed the full degustation that they served up.  It was a bit like getting all your favourite desserts but smashed to bits and relabelled as ‘deconstructed’.  Director Andrea Maxwell has given a group of talented and experienced thespians an opportunity to work together and cook up a really good time, and the results do not suffer from ‘too many cooks in the kitchen’.  The set is sparse, the costumes not that impressive, but the overall texture is real and gritty.
 
Each actor carried off multiple characters (which is why it’s so hard to comment on individual performances) and picturing them all giggling and guffawing back stage as they wriggled out of one outfit and into another is quite delightful.  It’s as if all the understudies, extras, and stagehands have leaped into the costume room after hours, grabbed some outfits and put on an impromptu show purely for their own entertainment. As an audience it feels intimate to get a glimpse behind the scenes and to feel like a confidante as they air their frustrations.
 
An audience favourite, and standout performer appearing in many different acts was Liam Peter Taylor.  Because I’m ‘getting down with the theatre lingo’ I can identify that Liam is a ‘triple threat’ a supreme dancing, singing and acting machine.  Particular highlights of his roles were as Barbara Streisand, and in his Cats parody, but there’s plenty to enjoy about the plethora of delights he served up.
 
Sophia Parker gets a special mention because I love her crazy curly head and I can’t possibly pretend to be unbiased.  Her ability to do spoof musicals suits her personality very well and her combination of sexy and silly is very alluring. Jo Sale played a diverse range of roles from crass to touching, seemingly slipping with ease from one role to another.  Her role strolling on stage as a dishevelled Annie, smoking a cigarette was an all too brief treat. Ben Pryor and Julie Cullen were a great double act and involved the audience in an enjoyable and fun way. Julie managed to sparkle mischievousness from her eyes, I kind of wanted to run backstage with her and get drunk. 

The depiction of Les Miserables left me feeling the least miserable of all the miserable times I've seen that long and depressing show. It seems that it's not just the audience that finds it an endurance act to get through.  Laughing during Les Mis this time was not a sign I was finally losing my mind but the great relief in seeing a bunch of actors kick its miserable arse around with glee.  
 
I never got tired in my seat (despite the fact that they are terribly economy class seats), I never yawned and hoped the end was coming, in fact the finale came as a surprise.  This was a delightfully pared back show that I had the pleasure to enjoy, and my joy was amplified by seeing how much the cast were enjoying themselves.

​The Globe
Palmerston North
10/4/2017

I saw a short video clip on Facebook of Ben Warren talking about nutrition for individual body types followed by a ‘book now’ button to attend an upcoming seminar.  Usually I would scroll past whilst rolling my eyes, but something made me push the button for the Palmerston North leg of the tour.  The hook was that he actually talked with scientific credibility, I know because I studied all the awful biochemistry papers required to become a nutritionist before realising no-one wants to see a fat woman to resolve their weight issues.

I approached the seminar with skepticism. Maybe it was going to be like attending a born-again Paleo group and I’d be making candyfloss out of ground dates and unicorn hooves.  Well Ben was very well groomed up there on the stage with a microphone, confidently and charismatically welcoming us to his presentation – it reminded me a little bit of The Bachelor but maybe that was just because I knew it was on TV at home.

It turns out Ben is actually a legit scientist and he really knows his shit – literally ( he confesses to testing stool samples a lot!).  We’d been given paper and a pen when we arrived and I really wish that I had taken more notes instead of writing silly messages to my friend like – ‘his calf muscles are too big for those skinny pants’- because there was so much great information imparted that I thought I’d remember but didn’t.

I liked that Ben’s information was about good health, and happy lives, and not focused on people outdoing each other with clean eating and weight loss obsessions.  I like that he spoke from a place of knowledge and skill and not as a celebrity chef that thinks he can simply imagine the inner workings of the body without any scientific basis – that my friends is pure shit.

I groaned at the beginning when I realised it was a two and a half hour seminar and had plans in place to leave halfway through if it was tedious or boring.  It wasn’t.  I stayed the whole time and have no regrets.  I hadn’t had dinner before I attended so I chucked a couple of licorice allsorts in my gob on the way – I know, I’m such a model attendee.  I was hungry by the end and wished I’d brought a packet of skittles to snack on at ‘the show’ like I’d joked I would do to my friend.  I dreamed a little bit of the McDonalds chicken nugget special and thought about going to the drive- thru on the way home.  Ben would be proud though, I went home and steamed some broccoli and had that instead.   I did indulge in a few pieces of white chocolate as a chaser though.

Anyway, back to Ben Warren’s Be Pure Programme.  I like what I saw.  If he sends me a special offer for his supplements I’ll probably buy them because he’s convinced me I’m going to be healthier and have more energy.  I’m thinking about how my body feels when I eat certain foods and becoming more in tune with it.  I’m patting myself on my quite broad back for the good things I was already doing for my health. Lastly I think that I would love to go to his clinic and get a personal consultation because it would be amazing to find out what things I am deficient in that could be resolved through diet, exercise or supplements.  Basically, why wait till you get sick – sort your issues out now.

If Ben is bringing his ‘What's Your Health Story’ seminar to your city I highly recommend that you attend – it’s  two and a half hours that could be life changing, or at least stop you going to the drive-thru on the way home. 

Directed by Ian Harman

I didn’t know anything about Dusty Springfield, and I’m not a big fan of the musical genre, but I am a fan of Amy Hunt’s powerful theatre vocals and Ian Harman’s directing so I rocked up to Dusty at the Auditorium on Centennial Drive on opening night expecting some good entertainment.

Well with quite a large stage to work with the set was underwhelming, in fact I wondered whether they had simply run out of time, or were running late and were going to set up while the audience got seated.  As I sat down there was nothing to gaze upon but a dusty old stage with some stacked chairs and metal props lying about.  I soon realised that this was the magic of director Ian Harman who managed with tricks of light and sound and a minimal use of props brought on and off the stage, to create scene after scene full of life and naturally flowing.  At times those props might have turned out as nothing but a chair and spotlight, and at others a mirror ball that filled the staged with dancing lights but each scene delivered everything required to evoke the senses and tell a story.

Amy Hunt starring as Dusty Springfield burst onto the scene with her strong soulful vocals immediately bringing Dusty to life, and man she nailed some showstoppers throughout the night.  If you are a Dusty fan you will be delighted with Amy’s honest and heartfelt renditions.

The journey through Dusty’s rise to stardom starts at her childhood with Hannah Sandbrook playing the plain, tomboy, red head,  child version of Dusty.  She pops in and out of the story as part of Dusty’s sub conscience and plays a solid yet tender role.  There is surprise after surprise in this musical as this autobiographical story reveals aspects of Dusty’s past that many (including myself) were unaware of. From a difficult relationship with her family, a brother that also found fame in the music industry, to her sexuality and alcoholism this show was a tumultuous journey - much like Dusty’s life.  There was a real breathing in and breathing out feeling to the movement of the show as the audience experiences the highs and lows of life as Dusty.

Amy Hunt sparkled on stage as Dusty and performed an outstanding job of portraying the emotions of the journey in a beautiful and respectful way.  But there was more than one star of this show, and man did I get goose bumps when Erica Ward hit the stage as Dusty’s love interest Reno.  The chemistry between these two was adorable and with the two of them combining their singing powers we were truly spoilt for enjoyment.  Erica’s performance was confident, strong, admirable, bloody outstanding, I got emotional watching her and Amy together, my eyes wetted themselves just a little, and in a particular scene (not too many spoilers) I wanted to stand up and yell ‘no, don’t do it Reno, please!  Clearly I got carried away in the emotion of it all...

Thank goodness there was some comic relief provided by Dusty’s loyal stylists and supportive friends the dynamic duo Rodney, and Peg played by Read Wheeler and Candace Higgie whose comic timing was ‘on point’.  It was nice to take the refreshing moments provided by these two to have a laugh and also to illustrate the safe haven they provided in Dusty’s life.  There were also the three mysterious lady back-up singers played by Tia Rongokea, Tessa Satherly and Victoria Owen, who demurely provided vocal support to Dusty’s performances. Their reliable presence provided a sort of reassuring constancy to the show, not to mention great vocals.

A cameo appearance by director Ian Harman in Dusty drag was utterly delightful and unexpected.  He seemed to levitate above the floor boards and danced energetically on heels in a way that I could not even achieve in flats.  So many performances by this cast were excellent – local music teacher Kirsten Clark and PNBHS teacher Chris Burton as Dusty’s religious and uptight parents played believable and enjoyable roles.  Ian Ball’s performance of Pet Shop Boys’ ‘What have I done to deserve this?’ featuring Dusty Springfield (who knew?) was a surprise and expertly delivered.  
​
A strong cast deliver an exceptional performance in this autobiographical Musical about legend Dusty Springfield.  Ian Harman is a magician who subtly casts a spell over his audience and brings out the best in his performers.  While I’m not a big fan of musicals, I love a good story and this story was sung into my soul.  I wish I could name the full cast here as the extras too were extraordinarily good. This gets a big thumbs up from me, and judging by the roaring applause last night, I’m not the only one who thinks so.