In the Dome Room (at 2 o’clock)

The State Opera of SA (in association with Prospect Productions Pty Ltd) has ventured into the world of musical theatre with their production of In the Dome Room (at 2 o’clock).

This musical play tells the story of the creation of the famous English musical comedy Chu Chin Chow, which opened at His Majesty’s Theatre, London, in August 1916, and ran for a record-breaking five years.

A combination of musical comedy and pantomime, Chu Chin Chow was a big budget spectacular costing £5,300, with many scene changes, fantastic sets, big dance routines, exotic costumes and innovative lighting effects.

Based on Ali Baba and the 40 Thieves, Australian born Oscar Asche (the writer and producer) directed the musical and played the leading role. Besides Asche, the production starred his wife Lily Brayton.

In the Dome Room (at 2 o’clock) is successful in many ways but falters in others. The script by Rob George is packed full of well written characters and runs the gamut from high comedy to pathos. George has written a cleverly structured musical play in 3 acts that entices the audience to go home to research Chu Chin Chow and maybe listen to the score.

Dale Ringland (composer and Musical Director) has created a score that is evocative of the music of the Edwardian period and the 1920s. There are similarities to Gilbert and Sullivan, Offenbach and many others, but all with Ringland’s distinctive style, particularly in the dramatic solos. The two-piano arrangement which forms the accompaniment for the piece is extremely effective.

Greg Elliot and Kerry Elliott provide solid direction and choreography.

Although In the Dome (at 2 o’clock) is an ensemble piece, with virtually every performer having their own solo or duet, the show rests on the shoulders of Joshua Rowe and Joanna McWaters as Oscar Asche and his wife Lily Brayton.

Rowe (who is hardly off stage) handles his many solos superbly with his rich commanding voice. His Oscar is brash, cheeky and ultimately vulnerable. On the opening night, however he struggled several times with the material and took time to return confidently to the character. This improved during the night, however, and his final scenes when deserted by his wife and company were compelling.

McWaters’ Lily shows a real depth of understanding of the difficulty faced by a wife who loves her husband but has to protect herself mentally and physically. Her solos are among the highlights of the show. Her voice perfectly matches the vocal stars of Edwardian period and one feels a connection with her as she watches her husband’s decline. Her duet with Sir Herbert Beerbohm Tree (Andrew Turner) is a delight and earnt well deserved applause.

There are many other gems from the other members of the cast. Mark Oates (well known to Adelaide musical theatre audiences) as Freddy Norton delivers a knockout solo (with chorus) at the end of act 2 as well as playing a beleaguered Musical Director.

Naomi Hede, as Queenie, plays the other woman to perfection. Her ability to relate to the audience is commendable. She is the ‘meat in the sandwich’ in Oscar and Lily’s relationship and plays it with innocence and frailty.

Rodney Kirk, as the hardened Hargreaves, gives the audience a dual personality, gruff and narrow minded in act 1 and whimsical in act 3. His solo, complete with straw hat and cane, is a stand out. This reviewer has to wonder though how his limp using a walking stick disappeared in act 3. Maybe for comic effect?

There is also some outrageous comedy from Daniel Goodburn (Godrey), Norbert Hohl (Joey) and Gerry Masi (Stage Manager) to keep us laughing.

Add to the above performers Kristen Hardy (Mog), Rachel McCall (Wardrobe Mistress 1) and Catherine Campbell (Wardrobe Mistress 2) and you have a well-rounded cast.

There was much to enjoy in this production. I found the deliberately overacted rehearsal sections of Chu Chin Chow extremely entertaining. I was not as convinced by the delivery of the other dialogue; it seemed stilted at times due to over articulation.

As mentioned above, the production slowed at times due to uncertainty of lines by several cast members. A little more rehearsal would have helped this and it should improve on the second performance.

I was puzzled by the modern clothes racks in act 1, in a show that was period correct in every other way. It would have been simple to make wooden racks.

All in all, In the Dome Room (at 2 o’clock) is an innovative venture by The State Opera of SA and I congratulate them for stepping out of their comfort zone.

Barry Hill

Photographer: Bernard Hull