Megan Hilty in Concert

She has more sensational curves than are respectable, yet she’s not overtly sexual; she is a huge star on stage and screen, and yet she’s natural, even scratching her head, twirling her hair and saying ‘Um’ a lot; she’s everything the audience of Smash hoped for, yet nothing they expected. “Blonde Bombshell” is out, “lovely woman with a voice to die for” is IN.

There really are no words to describe how great the voice is. We’ve never been exposed to all it can do until now. It is (and I’ll challenge anyone who argues) probably the best voice EVER in the history of Musical Theatre. Not only does it range from whisper to full operatic top register effortlessly, AND she understands and feels and beautifully interprets lyrics, but even when she belts it never grates. It’s astonishingly musical and melodious with brilliance in every register.  For voice alone she eclipses Audra, Idina, Bernadette and Patti; that said, she gives the impression that she doesn’t (yet) really believe she is a Superstar. She doesn’t own the stage like the aforementioned. She doesn’t proclaim her star status or exude the charisma we’ve come to expect from “Legends”. She gives us what is more like the greatest audition of all time coupled with an “I hope you like me” demeanour. She seemed genuinely and honestly surprised at the reception she got - and the two standing ovations, as if somehow she didn’t deserve it.

Some will find that refreshing and endearing, even down to all the cutesy “MM” bobs and little backward kicks, but sooner or later Megan has to own that we want more than just to be entertained by a sensational voice and a natural sweetness. We want her to be better than us. We want to be Gobsmacked - we want the breathtaking gown, not the calf length frock; we want the charisma, we want to be transported – and Megan still seems to be on a learning curve in that respect.

Those trappings come with stardom, and concerts with her own band are relatively new. It’s totally different to guesting with a symphony orchestra, and it’s a time for exploring her persona as “Megan Hilty” rather than as a character.

It may seem like nitpicking - but image is as important as talent, which this lady has in spades and then some.

Megan is at her best when she gives the fans her Smash repertoire. Let’s face it, the TV show was ground-breaking and she was a revelation.

“Moving The Line” is her virtual theme song and last night she “smashed” it (apologies). She moved us to tears with “Second Hand White Baby Grand”, and brought us to our feet with “Don’t Forget Me” and “Let Me be Your Star”; and there was a great version of “That’s Life” with the talented MD (and her pianist) Matt Cusson as a duet. And of course she turned her fans to jelly with a stunning version of “For Good” from Wicked. Less successful were versions of “Come Rain or Come Shine” where she channelled Judy Garland, and other standards. The show ended with a great version of “Diamonds Are a Girl’s Best Friend”, followed by the anachronistic but delightfully gentle “Rainbow Connection”. I almost expected the audience to be waving candles or light sticks.

The four piece band was exemplary throughout and her “hunky” husband, guitarist Brian Gallagher engaged in loving banter with Megan (they clearly adore each other) in an intimate way that perhaps didn’t quite work in a concert hall.

I interviewed Megan before this tour. She was down to earth and an absolute delight to talk to. People who have known her for only a couple of days since she arrived told me, “she is just so lovely; not a bit like a star.” I hate to say it, but perhaps that’s not such a good thing - a little mystique never hurt anyone.

But oh….THAT VOICE!

Footnote: before the show we were invited to the opening of The Riverside Jazz Bar – an initiative of the Melbourne Jazz Festival. There were fine canapés and champagne and live music from the terrific Monique di Mattina Trio. Monique is a lovely pianist and singer and Phil Rex is a great bass player, both aided by the ‘not-too-shabby Michael Jordan on drums. It was a wonderful surprise and it would be great if Hamer Hall could offer it permanently, surely the amount sold at the bar after a concert would more than cover the cost. But it will be open for four more nights and entry is FREE…

Coral Drouyn

TOUR DETAILS

BRISBANE

WHEN:                                                 Thursday 9 June 2016

WHERE:                                               Concert Hall, QPAC

BOOKINGS:                                         qpac.com.au or 136 246

SYDNEY

WHEN:                                                 Friday 10 June 2016

WHERE:                                              Theatre Royal, Sydney

BOOKINGS:                                        via ticketmaster.com.au/ or 1300 723 038

ADELAIDE

WHEN:                                                 Saturday 11 June 2016

WHERE:                                               Festival Theatre, Adelaide Festival Centre

BOOKINGS:                                         adelaidefestivalcentre.com.au or 131 246

Read Coral Drouyn's interview with Megan Hilty.