How to Succeed in Business Without Really Trying

Naked corporate ambition and intrigue probably hasn’t changed much since Tony Award and Pulitzer Prize winning musical How to Succeed in Business Without Really Trying

made its debut in 1962 - a corporate age recently captured in the latter seasons of TV’s Mad Men.

Its political incorrectness will strike some raw nerves, yet it’s still so easy to identify with former window washer J. Pierpont Finch as he schemes and manipulates his way up the corporate ladder with zero qualifications, and a ‘How To’ book.

Hornsby Musical Society’s brightly paced, impressively sung, well-timed production proves an audience-pleaser.

Combining direction and choreography duties, the flow and timing of Lauren Oxenham’s production are mostly excellent. Her dance routines and movement regularly reinforce plot and situation.

A colourful single unit set, combined with limited props and furnishings, is a smart choice for this production, building in some effective staging solutions. Some scene changes involving nothing more than movement of those simple props, though, should be more tightly executed to shorten blackouts.

Composer / lyricist Frank Loesser wrote three of Broadway’s classic scores, How to Succeed in Business Without Really Trying, and before itGuys and Dolls and The Most Happy Fella,and this production does great justice to his music. Supported by a compact brass and woodwind orchestra, led by musical director Andrew Bartle at the piano, with a splendid sound mix from Loud and Clear, strong vocals across the cast completed the listening pleasure.

The cast is led by talented, youthful principals. James Burchett brings a cheeky charm to the role of corporate climber J. Pierrepont Finch. It’s a massive role, and Burchett shoulders it capably. Erica Penollar shines as his romantic interest Rosemary, delivering probably my favourite performance of the show, with engaging sincerity. She’s an assured young leading lady with a delightful voice and strong acting chops.

Confident and knowing as her confidante Smitty, Amy Neville also displays great vocal pipes. Elizabeth Dobb’s street-smart Hedy LaRue oozes sexuality, complemented by snappy comic timing. Jordan Anderson portrays devious Bud Frump with broad-stroke humour. Kris O’Ryan projects an assured presence and vocals as Bert Bratt. Monika Cole is a warm likeable Miss Jones. Paul Sheldon’s Mr Twimble and Paul Mepham’s J.B. Biggley solidly and effectively characterise their corporate stereotypes.

Emily Layson’s vivacity and vocals in the small role of Miss Krumholtz show that talent runs deep in this cast.

Male costumes for this show are a no-brainer – suits, but uniformly styled costumes for the secretaries, varied by their array of bright colours, while generally attractive aren’t uniformly flattering.

It’s pleasing to have the opportunity to see not-so-frequently performed Broadway musicals returning to the spotlight.

Neil Litchfield