Happy People in Concert

It’s probable that New York City will see a full production of Happy People before Australia does, but for those of us lucky to have seen the concert version, we can at least gloat a little that the fabulous composer/lyricist/librettist and his superb cast are Australian.

Robinson’s talent is extraordinary and the breadth of it is astonishing. While Atlantis (presented in concert earlier this year) is a huge extravaganza, Happy People is a far more intimate show, ready to open Off-Broadway at a moment’s notice; think Avenue Q in scope but with better songs and an elephant replacing the plethora of puppets. The only “problem” with Robinson (and we should all have such a problem!) is that his talent is so extraordinary, his output so prolific, that when he breaks on the world stage (tantalisingly close now), there will scarcely be room for any other musicals but those by MLR.

This score is full of highly singable show tunes and gorgeous ballads and the cast clearly adore every note they’re singing. As if it isn’t enough that Mr Robinson does all the writing, he also plays keyboards (quite brilliantly), accompanying the entire show without a score, and adds the odd voice over as needed (for those who have been living on the moon for the past 5 years or so – Robinson is a terrific singer and performer in his own right).

The book is well developed from a simple story premise – a top TV “manufactured” group (Think Hi-Five) for a kids show, “Happy People” are told this will be their last season. Behind the scenes all is not “Happy”, as relationships are strained and personal agendas and ambitions take over. The characters are beautifully drawn, the emotional trajectories work a treat, there are enough twists to avoid cliches, and when you add the stunning, witty (and sometimes moving) lyrics, and the stunningly constructed music, you have the perfect boutique music that is deliciously satisfying.

The cast, with very little rehearsal for this concert staging, shows once again the depth of talent we have in Musical Theatre. Bobby Fox, scarily channelling Robbie Williams, is the bruised bad boy; Sun Park is his ex-wife and counterpart in the group…looking to move on personally and professionally; Tom Sharah is the jaded gay Jewish boy with ambitions (his performance of the show-stopping “Boyband” is just brilliant) and Gretel Scarlett is the “Nice” girl, trying to please everyone. Add to this the sublime talent of Bert LaBonte as Jeff – a gentle creative soul hidden away in an elephant suit despite being the most creative of the group, and the stellar Robin Arthur as their manager Poppy and you have the complete spectrum of journey and emotions in a cast of six.

Highlights musically are Gretel Scarlett singing “Nice” – a fabulous show number that has a passing nod to Schwartz’s “Popular”; Bert LaBonte’s plaintive and moving ballad “See Me”; Sharah’s totally OTT and amazing version of  “Boyband” – a song as hilarious as it is touching, and one that will surely stop the show in any production to come; and Robin Arthur’s 11 O’clock number “Young”…and there’s the delightful array of songs ostensibly for their audience of children, including “Happy People” (which gives us gorgeous 4 part harmony AND counterpoint in the same number); and “The Orchid Songlet (Just One Day) which gets reworked with darkly comic results in the second act.

Chris Parker’s direction is clean and crisp, Tom Willis’s lighting simple but effective, and Marcello Lo Ricco’s sound is beautifully balanced. But it is Robinson’s triumph, and rightly so. Usually one can find areas in a new musical that need work, but not so in this case. Robinson is not Stephen Sondheim…YET. But just give him a little time.

Coral Drouyn

Images: James Terry Photography