Tarzan – The Stage Musical

Let’s admit it, Tarzan is part of our psyche. I remember being openmouthed at Johhny Weissmuller swinging through the jungle on a vine when I took my little brother to the Saturday Morning Pictures (an institution in Britain in the early 1950s). But I never saw the Disney feature and I certainly never envisioned Tarzan as a Musical, yet here I am, raving about a spectacular opening night last Saturday.

Let me get this out of the way at the top. Tarzan is a very average musical. It is crying out for just ONE show stopping number (that never eventuates) and the book is perfunctory and often trite. On Broadway it needed oodles of money to cover the flaws with lavish special effects.

And yet stellar casting, empathetic, evocative and imaginative direction from Alister Smith, and astonishing choreography from probably the most original and innovative dance creator worldwide since Jerome Robbins, the amazing Michael Ralph, and this production rises above its origins to become an outright triumph.

With only 3 weeks rehearsal and a limited budget, Smith has avoided tricks and special effects and concentrated on the humanity of the story, pushing characters to the limit and connecting with us on a deep emotional level. The absolute truth is at the forefront of every gesture, every emotion, every movement and piece of blocking. It’s stunning work.

It’s hard to find new superlatives for Michael Ralph’s work. Just when you think you have seen all he has to offer, he turns all your preconceptions on their collective heads. Let me just say that for much of the show I forgot I was watching humans, so convincing was every move of the apes. How one creates dance routines for Gorillas I haven’t a clue, but every routine was stunning. Just as one still talks about Fosse and Jazz Hands, I suspect in years to come we will recognize The Ralph Apewalk. It’s been a long while, possibly since Fosse, when a choreographer’s name was enough to make you buy tickets for a show, but Michael Ralph is nearing that pinnacle now. The physicality and lyricism of this current work had my companion (NOT a theatre person) wide-eyed and saying, “The dancing, I’ve never ever seen anything like that!” And I second that emotion.

Once again the ensemble proved why our gypsies are considered the best in the world. Superb high energy dancing from everyone and total commitment to character throughout. Stunning talent, each and every one of them. The aerial work by both ensemble and principals is exemplary, atmospheric of the jungle and thrilling to watch, especially set to music.

The “Cheetah” of our childhood becomes Terk, wonderfully played by Trent Owers, with great physicality and humour. I’ve seen his work some years ago at the Pink Flamingo and he is even better now. He features in the show’s best number, “Trashing the Camp” - a jazz scat that opens the second half.

Sarah Murr is both strong and endearing as Kala, Tarzan’s Gorilla mother, and Devon Braithwaite is totally convincing as the family leader Kerchak.

There’s terrific work from Daniel Lim as young Tarzan and there isn’t a weakness in the principal cast. Emily Robinson (in her first lead role out of VCA) gives us a feisty independent Jane with a powerhouse voice.

But it is Joshua Russell in the title role who rightly impresses most. He manages to sing beautifully whilst hanging upside down on a swinging rope - the mind boggles at the audition process. He’s physically perfect, and his body language and movement is astonishing. Apart from being loaded with charisma, he’s both humorous and poignant in a difficult and iconic role, and he owns the stage with every entrance.

On a shoestring budget, the set is also a star. With no money for special effects or build, Jacob Battista, always an interesting and exciting designer, has excelled himself with the simplicity of the imaginative wrecked ship overgrown with varying types of jungle. Simple streamers of greens and browns, vines and ropes with the occasional pop of colourful flowers once again prove that you don’t have to spend millions to make a production special. Hats off to Declan O’Neill’s lighting design, Marcello Lo Rocco’s excellent sound and Bianco Pardo’s evocative costuming.

Clair Healy’s musical direction is as sharp and exciting as ever, and the band don’t disappoint her or the audience.

There’s enough energy to light the CBD on the stage, so it’s disappointing that the score and lyrics are so average when written by Collins, who knows what makes a pop hit. I actually wanted a finale version of “In the Air Tonight”, with all the Gorillas playing the famous drum break on the wrecked packing cases. But then, you can’t have everything.

Coral Drouyn