Houdini: The Man from Beyond

A charismatic performance by Chris White as the title character, some terrific illusions, and a nice tight production by Sue Rider were the big pluses of the new Australian musical, Houdini, trying out at the University of Southern Queensland Arts Theatre, Toowoomba. In 1910 Houdini became the first man to fly in Australia. Historical film footage of this event was used as an overture to set the mood of the piece. Using Houdini’s brother Dash, also an illusionist, as a narrator, the authors, famed poet Bruce Dawe and composer Russell Bauer, focused the first act on Houdini’s exploits as an escapologist, his wife’s fears, and his devotion to his mother, with the second concentrating on him debunking spiritualists and spiritualism. The book could well do with some pruning and could easily lose thirty minutes, especially from the first act, but the second moved well and was compelling. Chris White was a fine and likeable Houdini, essaying the character’s cocky bravado with charm, Kristen Thompson as his wife Bess gave a feisty portrait of the woman behind the man, and Lucy Fox as the medium Margery took command of the stage with her outrageous displays of spiritualism. Musically the show took a little time to take-off (the first ensemble number didn’t come until 45 minutes into the show), but the second act opening, “The Fairies at the bottom of the Garden,” sung by Chris White and Luke Phillippo, was a showstopper. Other songs to register were the mystic’s quartet, “Who Does Houdini Think He Is?” and “Margery’s Song.” The score also featured “Rosie, Sweet Rosabel,” a song from the period by Paul Dresser, first published in 1893. Musical accompaniment by a four-piece group led by pianist Shannon Lotz was fine, and special mention must be made to Christopher Wayne for teaching the cast some amazing illusions.
Peter Pinne