Violet

This is the type of show that we rarely see in Australia. Thankfully the Hayes (alongside venues like Theatre Works and Chapel Off Chapel in Melbourne) is providing a home for small-scale, independent musicals, often staged as dream projects of performers. In this case, it’s the first full musical by Blue Saint Productions, established by Joshua Robson (Les Miserables) and Damien Bermingham (Strictly Ballroom).

Violet is an unusual choice: a 1997 show by Jeanine Tesori, composer of this year’s hit of the Tony Awards, Fun Home (as well as Thoroughly Modern Millie and Shrek the Musical). Violet received its first Broadway production last year, starring Sutton Foster.

The story, as you may have guessed, is about Violet, a young woman from North Carolina whose face was horribly scarred in an accident as a child. It’s 1964 and after the death of her father, Violet has decided to take a bus trip to Oklahoma to visit a television preacher she hopes will “heal” her scar.

With such a premise, it’s no surprise this musical has remained small scale. The music is also unusual for the Australian stage: a mix of folk, gospel and American roots, although few of the songs make an impact.

Yet this is a show built around the honesty of its characters rather than the power of its music or plot. And of course, the story is more concerned about Violet’s internal, rather than external, healing

This is a strong production, directed by actor and musical theatre performer Mitchell Butel. Sam Dodemaide gives a heartfelt performance as Violet, strong in voice and convincing in character. As is often the case at the Hayes, the show benefits from the intimacy of this small space but the audio is difficult. The sound is often too loud and Dodemaide and the rest of the cast struggle to achieve subtlety. They have to belt out the numbers to be heard over the band (which is very good).

Violet is not just about the lead character: it’s a true ensemble piece. The cast is very strong. Barry Conrad plays Flick, a soldier Violet meets who, as a black man in the 60s, knows all too well what it’s like to be judged by physical appearance. This is Conrad’s musical theatre debut and he has a beautiful voice. He sometimes appears uncomfortable on stage but shows plenty of charisma – and potential for many roles ahead.

Bermingham not only produces but plays Violet’s father perfectly, shining in all his scenes. Dash Kruck demonstrates brilliant timing as the preacher and Genevieve Lemon is hilarious in a number of smaller parts. Elenoa Rokobaro’s vocals in “Raise Me Up” are stunning, leaving the audience hooting for more.

It’s a shame there aren’t more songs like this or the other standout “Luck of the Draw”. But with relatively low ambitions, Violet emerges as a fine show. It will have a limited impact here but let’s hope it provides inspiration for local musical theatre writers to write even more resonant works.

Peter Gotting

Photographer: Grant Leslie