The Boy From Oz

Walking into the beautifully appointed Empire Theatre to the almost full audience, it was clear that theatre is alive and well in Toowoomba.

We all know The Boy from Oz, and that it is a recreation of Peter Allen’s final concert interlaced with a biographical story of his life, so I won't go into a full synopsis of the show.

We were greeted by a concert stage with a raised podium, adorned with a white grand piano - complete with red maracas - centred between stylish music key laden stairs, which lead up to a full stage mezzanine featuring a large LED screen across the back. There was a spiral staircase off centre on the podium and the orchestra was in full view beneath the mezzanine floor. 

The orchestra launched straight into "The Boy Next Door", and The Angels, a trio of Peter's backing singers, took to the stage, along with a very flamboyant Peter Allen, played with panache by Justin Tamblyn.

The Director/Choreographer of The Boy From Oz is Drew Anthony and he successfully pulled together all the elements of this show to create a visual spectacle and sensitive retelling of Peter Allen's story. The 11 piece orchestra, directed by Robyn Wormersley, was tightly rehearsed and it was lovely to see one of the 7 local children's choirs involved in "I Still Call Australia Home". 

The production design was visually well done with the afore-mentioned set interlaced with vignette scenes played to the front of what must be a massive stage. Lighting was excellent, including some beautiful scenes. Judy Garland's "Quiet Please, There's a Lady On Stage" and Liz Minnelli's "Sure Thing, Baby" were especially stunning, with lighting detail evoking suitable mood. The LED was used to great effect in setting scenes with stunning imagery, however its overuse throughout, including constant close ups of Peter in 'concert' scenes, took attention away from the live performance. In addition to this, the half second lag, the guard raid across the LED screen, and the drummer's face in the background of almost every shot of Peter unfortunately added to the distraction.

If the hero was Peter, the villain of this show was the sound. The dialogue was always clear - we heard every word. The quality was there, however, throughout the performance the vocals were well under the music and this poor mixing zapped vitality out of the musical numbers.  The Angels and much of the ensemble singing suffered the most, with little presence in the mix. 

Despite the sound issues, Justin Tamblyn was excellent as Peter Allen. His accent and vocals were consistently high quality, his choreography precise and his physical prowess undeniable as he deftly leapt on to the top of the piano a number of times without a care. It seems that the Director chose not to have Justin mimic Peter Allen but allowed him his own interpretation of the man. I would have liked to have seen more development as a character in the biographical scenes. The audience responded to Justin's adlibbing and engagement. The show is squarely on his shoulders, and he delivered.

The production was set into higher gear with the arrival of Judy Garland (Lucy Williamson). From Lucy's entrance in the aptly lit cabaret scene, she embodied this timeless icon both physically and vocally. Her characterisation was on point and her voice commanding, reflecting her professional experience and skill. Her daughter, Liza Minnelli, was played well by Shannon Gralow. She certainly looked the part and has a beautiful, well-trained voice, but lacked the suitable tone and belt that Liza is renowned for.

The Angels (Vanessa Millar, Laura Baryla and Georgia Escober) revealed their individual powerhouse talent and prowess in the first number where each voice was heard as a soloist, "Somebody's Angel". Young Peter, played on this occasion by Ianto Mellish, was lively and likeable, demonstrating his tap dancing ability and great characterisation. Katie Commens as Marion Woolnough, with her very distinctive laugh, was an audience favourite giving a heart-warming performance of "Don't Cry Out Loud". Mike Escober gave a wonderful portrayal of Greg Connell, with a confident Texan accent and his very moving rendition of "I Honestly Love You", a highlight of the show. The ensemble and cast in minor supporting roles were all suitably cast and presented with conviction.

Another star of the show was the choreography. The dancers were drilled across all numbers and the Rockettes’ kick line was sublime. Testament to the Dance Captain and cast member Jenny Morrison - another standout and audience favourite.

The show came to an end with the whole cast on stage for an uplifting and vibrant "I Go To Rio" before being treated to a wonderful touching tribute of a video of Peter Allen singing "Once Before I Go"

It was clear that the Empire Theatre had spared no expense on this lavish production. It was a visual spectacle and a high-quality production. There was a great buzz in the foyer at its conclusion.  The audience left uplifted having been entertained by some fantastic musical theatre performers at one of the best theatres in Australia.

Adrian Carr