Georgy Girl

But I wasn’t a huge fan of The Seekers back then. I was a diehard Beatles and Monkees fan, even as a six-year-old. Yet isn’t it always the way, that it’s the peripheral songs from our childhoods that most readily bring a lump to the throat. Like the early hits of The Bee Gees. One doesn’t have to have been a huge fan of all the bands that populated the airwaves back then for the music to forge its way into one’s DNA, bringing a tear to the eye 50+ years later. 

In other words, like many folks my age or older, I was the prescribed captive audience for this kind of show. Having said that, now that I’ve heard the script, I realise that no matter how nostalgic the feels are - without astute direction and 100% commitment from a top-notch lead cast supported by an experienced ensemble, this show might well come off as a bit too camp. No fear of that happening here.

The praise I’ve been hearing about Abbey Hansson in the role of Judith Durham was well and truly justified. Her voice not only has an eerily similar tone, but she has also mastered that signature vibrato. Her phrasing and distinctly Aussie lilt were spot on. I could listen to her sing all day. By way of a huge bonus, the male Seekers: Billy Hawkins, Fred Rainbird and Sam Rainbird harmonised brilliantly. And while the script didn’t give them much chance to flesh out their characters, the lads made the absolute most of every scene they were in and their chemistry with Abbey could not have been more endearing. Great supporting performances by Scott Farrow as Judith’s first love, the sleazy John Ashby; Beverly Sheehan brought the loving vibes as Judith’s sister, Ava and Sam Parry was suitably annoying as the band’s opportunistic agent, Eddie.

My slight misgivings about the script aside, I was captivated by the idea (and execution) of the “dual” role bestowed upon Andy Prideaux. In act one, he fulfilled the duties of an MC/Narrator and as such, his funny and at times, flamboyant entrances and exits got some of the biggest laughs of the night. But in Act 2, his narrative role is then absorbed into the character of Ron Edgeworth - the man destined to be Judith’s husband. It all was so impressively seamless. One minute he’s the wisecracking commentator, the next, he’s fully immersed into his role as the charming and soulful love interest - and he nailed both. 

The ensemble kept the energy bouncing along, not only by executing the infectious choreography with precision, but also facilitating the many scene changes, deftly managing some awkward props with aplomb. All ensemble numbers were slick, but the London Sequence was a highlight, reminding me somewhat of the “Ascot Gavotte” from My Fair Lady. This is not to mention the many acting cameos provided by the ensemble.  I saw the Sunday evening performance. You’d never know it was the last performance of ‘hell week’. The energy and focus from the entire cast was razor sharp. 

An outstanding orchestra, vibrant costumes and functionally mobile set design round out this heaping bowl of praise. 

My only minor critique being that the ever-changing LED lighting display (used as the illustrative and mood setting back drop throughout) was indeed dazzling, however, some of the imagery was at times a little hard to decipher. But when the illustrative components were working at their best, it provided a feast for the eyes. That’s my slight nitpick. 

This was my third show from Encore Theatre Co, and their production standards never disappoint. This show served as a tonic in troubled times. Sometimes you just want to put your brain in a bucket, reminisce and have fun. Kudos to everyone on stage and behind the scenes, I had a blast.

Rose Cooper