The Nance

The world of Burlesque and the thirties is all but dead and buried, and so Beane’s play, The Nance, is as much a historical document as a dramatic work (with a bit of musical thrown in). For people of my age, it brings back memories of our youth (even though we were part of the first re-telling of the history, and not around in the thirties themselves). For the young, it is a quaint history lesson of an era that is rarely covered even on Screen (The Night They Raided Minsky’s) or stage (Gypsy, Little Me). At its core is a serious theme, the persecution of homosexuals in a world that allowed “straight” men to play gays on stage – but didn’t allow “Nancy Boys” to play themselves.

Williamstown Little Theatre, celebrating its 70^th anniversary this year, is a charming company which consistently punches above its weight, and has its own equally charming theatre. This time the play is an Australian premiere, with a much respected director in Chris Baldock. Baldock balances the right degree of edginess and respect for the subject matter and lovingly re-creates the era for us. There aren’t many directors who would have an attractive young man run naked across the stage under the gaze of a promiscuous old queen, for an amateur theatre production. Yet Baldock’s choices are never gratuitous.

Casting is not the norm either. How could it be when the text itself is part drama, part live burlesque revue, part musical, and part slapstick comedy? Baldock has assembled a cast that is near perfect for the play.

Kirk Alexander is almost old enough to remember the era, and one can virtually feel limelight emanating from him. As the Principal comic in the Burlesque (Efram, though called Ephraim in the original play) he brings just the right amount of Yiddish Chutzpah and humour to the sketches, and doleful Jewish angst to back-stage real life scenes. It is truly a stunning performance.

Matching him blow for blow is Phil Lambert as Chauncey Miles, the “Nance” of the title. One can imagine the great Nathan Lane in the Broadway production, but Lambert doesn’t have to bow to anyone. If there are inconsistencies in the character, they are part of the writing, not of the actor. It’s a complex role with a lot of subtext and Lambert nails it, especially as the predatory older man who can’t deal with monogamy; it’s stellar work. If I have a regret it’s that Chauncey isn’t Camp enough in the Burlesque scenes. In those days the second comic to the “Top Banana” was often so outrageously over the top in their characterisation that they couldn’t possibly be real, hence the reason a Nance could hide behind characterisation. Lambert and Baldock could have afforded to go further in the on-stage character, but it’s a minor gripe.

Ziv Gidron (what a fabulous name) has come from New York, which is probably why he seems so authentic. His Ned is a warm creation, full of doubts about finding himself, yet ready to submerge himself in a taboo yet faithful relationship. He is adorable in the party scene, heart-wrenching in the goodbye scene, and wonderfully centred throughout.

Cat Jardine brings her usual forceful presence and skills to Silvie, the Burlesque queen with just a hint of lesbian about her. Is she or isn’t she? Jardine treads a fine line and makes it work. She always does excellent work.

Dianne Algate is a firecracker as Carmen, all energy and stage presence; Kate Lewis is cool and beautiful as the slightly dumb blonde Joan and Susanna Meijer is totally consistent as Rose. Reece Manning adds his own charm and style to the small role of Tony.

David Dare’s set is very impressive but, for me, is a little too heavy for the production, and a little too cumbersome for the space. Transitions are slow and somewhat mechanically noisy, but it certainly looks great when in place. Jason Bovaird creates his usual magic with the lighting, but I really missed the footlights. Every theatre in the entire world had footlights right up until the sixties, and the warm glow they throw on the face can’t be replicated any other way….but I suspect they were victim of the lack of space.

Janet Provan’s music was terrific and Tony Tartaro did a terrific job with costume design.

This is a terrific night of entertainment, but my review won’t inspire you to buy tickets. The season has been sold out for weeks.

And rightly so.

Coral Drouyn

Photographer: Roger Forsey