Ain’t We Got Fun

The war is over, Prohibition is in full force, and no-one is quite who they seem in this comedy set in an American Speakeasy of the Roaring Twenties. Blackwood Players have gone all out to present a play loosely inspired by the 1921 song of the same name.

Co-directed by the playwright Sue Oldknow, and Michelle Maclean, it’s a light-hearted song-and-dance story of the onstage and backstage relationships between flappers new and fading, wannabe Hollywood starlets, and gangsters who are more bluff and fluff than substance.

The first act sets up the characters, clearly defining their places in the hierarchy of the gangster and his club, and keeps their relationships light, yet with potential. The second act reveals more intrigue and mystery, with everyone divulging a secret or two that muddies the waters. No spoilers here – though your questions will all be answered by final curtain.

The single-set staging (designed by the co-director Maclean) is decorated in the 1920s style, with paintings of starlets, a shiny art deco bar, and chandeliers. Oldknow and Maclean use the large space well, with plenty of room for the dance routines, but creating smaller spaces for intimate conversations at the sides.

Some of the lead characters are more caricature (and deliberately so): Lulu (Shelley Pontiac) keeps us all laughing, mixing her metaphors hilariously; and Damien White’s ‘Babyface’ Balconi defines the level of seriousness by breaking the fourth wall before the performance properly begins, warning us of the consequences of anyone answering their phones.

Dora Stamos’ Greta takes focus in a pink hairnet and then keeps us interested for the entire show, with enough story to show us her dramatic range through hope, disappointment, and love. Rose (Kathy Strauts) is convincing as the mother-figure with inside knowledge of the bad boy; John Charles Maney does well as Mugsy Madison - his struggle between the two faces of his character is real. The female ensemble sing, dance and provide more than just a backdrop for the main players: of these, Poppy (Alana Lymn) has a strong, sassy presence, and is credible throughout, looking the part with her feather, thin cigarette holder, and tassels.

Indeed, the costumes have LOTS of tassels – Shelley Pontiac, Violet Rowes and the two co-directors have done a great job, particularly with the dancers. Choreography is effective and does dare to go beyond simple movement – Emily Cester’s Maude is the standout here, leading well without dominating the troupe.

There’s a hint of subtext in the second act, where the story threatens to reveal some darker secrets, but ultimately, it’s played for laughs. This isn’t drama to make you think - it’s escapism from the cold and darkness outside, and once you’ve bought a drink at the bar and enjoyed the show in the cabaret-style seating, you’ll leave the Memorial Hall chuckling. As the song goes: ‘In the meantime, in between time, ain’t we got fun?’

Mark Wickett