How To Succeed In Business Without Really Trying

How To Succeed In Business Without Really Trying
Book by Abe Burrows, Jack Weinstock and Willie Gilbert. Music and lyrics by Frank Loesser The University of Melbourne Musical Theatre Association (UMMTA). Melbourne University Union Theatre. April 19-27 2013

This is a musical which won the Pulitzer Prize and many Tony Awards so a you’d expect the basics are all there; engaging plot, show stopping songs, interesting music.  So, what a company does with those basics is the interesting bit. UMMTA mobilised an experienced group who have put on a satisfying and, at times, inspired version of the show.

The company formed, revised, reset, moved and remade the set using a well-timed choreography of boxes in a variety of sizes. The boxes became desks, a boardroom table, a washroom and café. This economy of staging was repeated with two mobile wall panels which created a lift and a toilet cubicle and were also pushed across stage to signify a scene change. The use of the boxes, designed by Kim Ritchie, was clean and supported the director’s desire for simplicity. The windows in the wall panels were confusing and it took a while to work out that they were not, for instance, a ticket booth at the movies but were, in fact, lift doors.

The cast was full of people who know how to act, sing and dance.  All of the leads, Keiran McGrath as J. Pierrepont Finch, Shannen Sarstedt as Rosemary Pilkington, Nicola Guzzardi as Smitty, Giancarlo Salamanca as J B Biggley, Samantha Scott as Hedy LaRue, James Worsnop as Bud Frump and Tim Banova as Bert Bratt clearly knew what they were doing and did it with consistency and style. Each had stand out moments and deserved the very full laughter and applause they received.

The supporting characters and the larger company all delivered a well- timed, beautifully defined, buoyant show. The biggest issue they had to contend with was knowing what the orchestra was doing. It was set on the back of the stage and although they had a screen the actors could see, it did not seem to give them the clues they needed to always come in on time or to keep with the musicians. There were several moments when they lost track of each other although the conductor, Patrick Paevere, worked hard to get them back together.  The score is not an easy one and the conductor injected energy and maintained a positive pace.

The choreography by Lena Jean-Lamshed and Catherine Worsnop was inspired and the “Coffee Break” movement was simply wonderful – I could have done with a second mug! The movement was appropriate without being intrusive and added meaning and depth to the characters.

The lighting, designed by William Pennington and sound, designed by Dave Kelly both delivered the support they needed, and the “Bing” smile of J. Pierrepont Finch worked especially well.

Bud Frump was played as a very camp, snivelling nephew of the boss with a very strong attachment to his mother. James Worsnop brought great physicality, focus and commitment to this portrayal and the scene in the men’s room was exceptional. Unfortunately, the character was not directed consistently and there were lost opportunities in scenes with the girls.

There was one fingernail biting moment. The phone fell off the wall and it was whisked away. Unfortunately, the next person to use the phone was left with a blank wall. They rose to the occasion and earned a huge laugh with their clever ad lib line.

This was just one example of the suave management of stage business the company consistently displayed. UMMTA has taken the bare bones of this fabulous show, added its own quirky, well thought out and realised contribution, to make a splendid evening’s entertainment.

Ruth Richter

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