The Boy From Oz

The Boy From Oz
Music & Lyrics: the songs of Peter Allen and others. Book: Nick Enright. The Regals Musical Society. Director: Julian Batchelor. Musical Director: Peter Sampson. Choreographer: Tracey Rasmussen. Rockdale Town Hall. May 06 -14, 2016.

My baby smiled at me and I went to Regals...

This production of The Boy From Oz is as bold, glitzy, and colourful as Peter Allen himself – and even more camp. More importantly, it has heart where it’s needed.

This musical based on the life of Peter Allen had plenty of talent onstage. The Ensemble worked hard and deserved praise for conquering the different dance styles that populate the show (’60s bop, Fosse, Charleston, Broadway/Vegas, and Latin American). Choreographer Tracey Rasmussen deserves praise for bringing the styles together. Peter Sampson as M.D. led a punchy and bright orchestra from behind the stage. Julian Batchelor’s direction gave the show the needed razzamatazz. More importantly, the director never lost sight that despite the glitz, what really matters is that there are real human beings at the show’s core.

All the leads were excellent and well cast. It was lovely to hear Annette Vitetta as Peter’s mother giving a dignified and sincere rendition of Don’t Cry Out Loud, and the same goes for Gus Noakes as Peter’s boyfriend singing I Honestly Love You. Stephanie McKenna gave a believable and energetic turn as Liza Minnelli, and Murray Stanton nailed the doubled roles of Peter’s manager and father. Hannah Barn, Renee Bechara, and Hayley Newman are a backup trio any major act would want in their show.

Stacey Wilson as Judy Garland was amazing – at times I felt I was watching a musical about Judy Garland instead of Peter Allen. Equally amazing was Joshua Scott as young Peter Allen. I’m reliably informed that his counterpart Harry Herbert is just as good.

Ah, but what of the main attraction? Timothy Langan as Peter Allen is a knockout. This guy is a true triple threat with lots of heart. When playing real-life historical figures, especially one still fresh in public memory, there will always be debate as to how to depict them; does the actor try to be them, or just ignore history and go for a totally different interpretation? Timothy did not try to be Peter Allen and I felt he made the right choice. The only thing I disagreed with was I felt Langan camped it up a bit too much, but I then had to remind myself that he’s not trying to be Peter Allen as history remembers him.

My only real concerns were with the tech, but I’m sure this was just an opening night thing. Sound balance in Act 1 wasn’t good but perfect in Act 2. The lights couldn’t stop moving, even during the quiet reflective bits. And we really need a moratorium on fog machines and hazers. This show (and many others) can work without them. I’ve now seen too many shows ruined by these things, and Act 2 seemed like there was an offstage fire. There was one section where the singers clearly lost confidence, and I found out later it was because the haze obscured their sight line to the conductor. Seeing the smoke suddenly start billowing out from the wings during a serious bit didn’t help (and it never stopped during Act 2). Allen apparently kept dragons.

A bouquet and brickbat for the programme: great design and great to see ALL the cast given photos and bios. But where were the author and song credits? Hopefully on the website somewhere.

Despite all that, I challenge even the most cynical and jaded of theatregoers and critics not to shake their maracas when “Rio” finally happens.

Recommended.

Peter Novakovich

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