Dusty

Dusty Springfield is credited with saying, ‘It's marvellous to be popular, but foolish to think it will last.’ Little did she realise that her fame would last and she would become a pop icon whose music is still popular today.

Northern Light Theatre Company took a gamble presentingDusty. The show relies on a singer/actress who can belt out 24 of the pop legend’s hits plus carry out numerous wig and costume changes while still giving us a realistic character, from Dusty’s early beginnings through to fame, demise and resurgence.

The company is fortunate in having Robyn Brookes in the role, who has extensive experience as an actor, musical director and band vocalist.

Director Gordon Combes wisely decided not to try to present the show’s many locations in detail and instead uses a two-level set with circular rostra, bright pop colours, with the orchestra at the back. This enables him to keep the show moving smoothly, with set pieces brought in and out by the cast. His direction is tight, which results in complex characters (particularly the two female leads), or caricatures when necessary.

Danielle Pedler’s orchestra is tight. She gives us a well-rehearsed ten-piece combo that has the feel of the 60s and 70s. Technically they are virtually flawless.

Sue Pole’s choreography is true to the period and tailored to the cast’s ability, taking full advantage of the set’s two levels.

Anne Humphries’ costumes and Chris Bussey’s wigs take us back to the pop era and bring back fond memories for those old enough to remember.

Robyn Brookes’ Dusty Springfield goes behind the popstar’s seemingly confident stage persona and reveals her vulnerable, poignant and heartbreaking private life. With a speaking voice that is scarily similar to Dusty’s and vocal cords of steel, she scarcely has time off stage except to change wigs and costumes, while still maintaining the drama required to bring a tear to our eyes.

Brookes is partnered (in more ways than one) by Bianca Levai (Leicester) as Reno, Dusty’s partner. Levai has a strong voice that can belt out a song but also pull back when necessary. I particularly enjoyed her version of “I Close my Eyes and Count to Ten” with Dusty.

Amie Graham, as Dusty’s younger incarnation and conscience, creates an initially fragile, yet in many ways, more mature character than the older Dusty. Her “Who Can I Turn To” at the end of Act 1 with Dusty is a highlight.

The rest of the Springfield family, Mr. O’Brien (Russell Ford), her brother Tom (Steve Lewis) and Kay O’Brien (Chris Bussey) provide both humorous and tender moments, particularly Bussey’s rendering of “My Colouring Book”, an audience favourite.

Dusty’s two friends, Rodney, her gay hairdresser (Tom Adams) and Peg, her secretary of sorts (Nadine Wood), while zany, both anchor and encourage Dusty’s rise to fame. Their version of “Little by Little” with Dusty is a delight.

There is a myriad of other characters who add their own colours to Dusty’s life. Gary Humphries’ drag version of Dusty is hysterically funny and Amanda Sharp’s political commentator, Jean Rook, is suitably acerbic.

The ensemble is kept busy changing costumes and characters and providing an essential backing. Their harmony sections add authenticity to the overall sound of the show.

The show took a little while to warm up on opening night, however this should smooth out as the season continues.

I found the balance of the orchestra and voices uneven at times, especially the first 15 to 20 minutes of the show. This is one of the dilemmas faced when having the orchestra on the same level as the vocalists; audio operators can only do so much.

While having a 60s disco feel, the lighting also had a few puzzling dark spots.

Dusty is both a tribute and a celebration of Mary Isobel Catherine Bernadette O’Brien’s (Dusty Springfield) life and the Northern Light Theatre Company’s production has ensured her contribution to the pop music of the 60s and 70s will live on!

Barry Hill