Phar Lap: The Electro-Swing Musical

This musical gallops away with laughs galore, a glorious big band sound, spectacular choreography and a heart the size of the big red.

Historical accuracy has been sidelined to make room for the cheapest of gags and horse puns as writer Steven Kramer puts it.

The nags are played by actors.  Joel Granger is delicious as Phar Lap.  Much fun is made of his New Zealand origin. The audience is introduced to the future champion with a lavish kiwi accent who struggles to pick up sandwiches with his hooves.

Purchased for a song, in poor condition, covered in warts, he’s a sweetie who just wants to come second.

He soon loses his nuts and if things don’t go well, the gelding is destined for the glue factory.  Phar Lap’s half-brother is Nightmarch (Lincoln Elliott) - a tough boy with a Māori sensibility who ruthlessly mocks his sibling’s abilities.

Played a little straighter are the humans. Justin Smith as the trainer Harry Telford and Nat Jobe the corrupt part-owner David Davis. Amy Hack milks gags with aplomb as socialite Madame X. Elliott makes a further cameo as a bat twirling Donald Bradman.

There is plenty of horsing around in this production with a sexy sensibility. The leather clad Jockey Jim Pike (Shay Debney) wants to whip the gelding into shape. He sings a sultry song ‘Ride You’, but when he finally speaks it is with the familiar nasal squeak we hear from jockeys.

Manon Gunderson Briggs is the announcer who describes the onset of the Great Depression as a colourful race call.

Musically the sound is sumptuous. There is only one live musician, but the production has ingeniously integrated a big fat juicy big band that is pre-recorded. It works seamlessly.

The set is a semi-circle of a stable with all the action happening front and centre.  It allows room for a cracking dance pieces. Choreographer Ellen Simpson has whipped the cast into dizzying whirls and spins.  The pace quickens when the cast enter the hoof doof dance club.

Steven Kramer quipped in the foyer afterwards that he unintentionally created a dance musical. His score has lots of nice tunes and there are plenty of satirical allusions – one which gets the audience singing along.

Crisp lighting and attractive costuming add to spectacle like the mounting yard at Flemington.

Amidst the fun, serious issues are touched on including corruption in the racing industry, and drug abuse.

Director Sheridan Harbridge has ridden the production with panache, streaking away with a musical that will bring a thunderous cheer on all stages.

David Spicer

Photographer: John McCrae