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Call Girl the Musical
Presented by:
Margaret Fisk OAM, Simon Myers and Greg Dee
Venue:
Chapel off Chapel
Reviewer:
Melissa Trickey
Date
Reviewed:
Tuesday 21st April 2009
Call Girl the Musical is a rare find –
it’s an original Australian Musical... and it’s actually good.
Better than good; it’s got catching songs, great gags and hilarious
and endearing characters. A very quick run down of the story: serial
volunteer Jean Brown is forced into employment when her scum bag
husband leaves her despite the fact that she is possibly the new
Mother Theresa. She stumbles into the “We Care Marketing” Call
Centre, where they flog raffle tickets for various worthwhile and
not-so-worthwhile causes. After a shaky start, Jean rises to the top
of the Call Centre biz and then comes back down again, helping her
colleagues and snagging a new man along the way for the happy ending
she so rightly deserves.
Having seen the show during the first
season, it is fantastic to see how the show has grown and developed.
It may have the same story line but it’s a very different show. It
is sort of like comparing the two different “The Wild Party”
Musicals. The same starting point but two distinctly different end
results.
Some of the songs and parts of the
script are recognizable from the first season, but there are totally
new songs, other songs are in a new context or song sung by
different characters, and the story line has been altered in parts.
The show seems to flow better, and the pace of the dialogue gets a
resulting gear change where it was needed. That’s not to say it was
noticeably slow in the first version, but it’s the difference
between good and great.
The change of Performance Space from
the Phoenix in Elwood to Chapel off Chapel has done the production
nothing but good. The more intimate setting really suits the piece.
Although from watching the show, it is evident that the new space
would have been a total nightmare for all involved; thank god for
the audience and the show, the people in charge have made smart and
informed decisions. Logistically, the show was pulled off, and
pulled off very well.
The score has also come a long way
since the first incarnation too. Although I did miss Frank’s
rendition of “Super Salesman”, the one criticism I would have had
about the actual show after the first season was that too many of
the songs sounded the same. Now, with the addition of new songs that
are of distinct genres, all of the songs are quite individual.
Although I’m sure the author’s don’t think they are finished with
the songs, I think that they are quite close to the finished
product.
I’d love to get my hands on a cast
recording to really listen to the lyrics, as I fear that by only
seeing it once (or twice now!) I’ve missed some of the witty gems
hidden in there. “Sticky” and “Burnin” are quite obviously funny but
I’m not sure I caught every thing! Just the nature of the beast, the
tempos can’t all be slow! I really like the premise of, and the
actual song “Lighthouse of Love”, it’s a shame that it doesn’t get
as much of a go as in the first season. But individual songs must be
sacrificed for the good of the whole show I suppose!
So lets move on to my critique of the
actual production! Let me start by saying the band was tight, and
smokin’! The poor things were squished in on one side behind the set
too (ahhh the perils of Chapel off Chapel!!), they did a sensational
job. The singing was absolutely sensational too, congratulations MD
Jack Howard. Sound was 99% perfect, there was only literally one
time that one line was missed, and it wasn’t even a line, it was two
syllables! The levels of the cast mics and the band were perfect.
Costumes were simple but effective, with the specialty pieces such
as the bollywood outfits and leather dominatrix gear achieving their
aim and looking fabulous too!
The Set was totally redesigned, far
more abstract with bright cheery colours. No Curtains, I’m not
really sure why there were Palm Trees on one side and something
random on the other side…. I should have asked what they were, but
no matter, they looked great. The TV Screen at the back was a
fantastic way to place the customers/victims in the action. Lighting
Design was utterly effective – transitioning from real life to
ridiculous fosse/bollywood/rock song with ease. The mark of a great
lighting designer is to find the balance between understated and
obtrusive to strike gold with appropriate to the show. Well done to
Set Designer Eugyenne Teh and Lighting Designer Karla Engdahl.
Choreography by Dave Harford (also the
Assistant Director for those of you playing at home) was
sensational. Nothing too flashy, over choreographed or distracting,
every piece had its own style, catered to the skill levels of the
performers, and really added to the story and individuality of each
song. Thanks to the music and the choreography, each song was quite
defined. Highlights included the fosse send up of “Vote for Me”, the
fun vibe of “Ring Ring”, awesome bollywood moves (and I mean
awesome!) of “India” and sensational 90’s rap moves of “Bitch”.
Let’s face it; Bryce Ives is a bit of
alright as a Director. The blocking was impeccable; all of the
characters had such distinct journeys that you could graph them. The
show was tighter than…. Wait, I’m not going to finish that sentence.
What I’m trying to say is- there’s a reason that Bryce Ives has a
flawless reputation as a Director in this town. I better stop there
before I ramble, I’ve already gone on way too long as it is!
I’ve left the cast until last for a
reason, because they were the strongest cast I’ve ever seen. And I’m
not just getting carried away, I say this because not only did they
100% own their characters, but they worked off each other so well.
1000% energy seemed to be a prerequisite of being cast in this show.
I’ll start with the two cast members
who will be the most well known to regular TP readers: Chris
Buchanan and Laura Burzacott. Chris was one of two new cast members
this time around, and he fit into his character of the hopeless Team
Leader Anton like a 1000 piece jig saw puzzle that takes hours to do
fits. Never pulled focus, always totally in the moment, and his star
moment of total despair in the song “Hot Chook Shop” was a real
highlight. Laura Burzacott was just a pleasure to watch as office
bitch Courtney; she’s got a real star quality about her. You can’t
take your eyes off her when she’s on stage. When you’re playing the
bimbo, it’s so easy to go over the top, but Laura’s characterization
was spot on. This girl needs to get an agent if she doesn’t already,
cuz she’s ace!!!
Trevor Major, or my first thought that
guy that’s on TV stuff, plays something ridiculous like 28
characters?!? Every single person that the “phonies” call, plus the
Call Centre Cleaner and Ex-Husband of Jean to boot! Not only is this
guy extremely versatile, brilliant at accents and way too good at
quick changes, he is a tremendously funny performer. Not many out
there could handle this role. Raelene Isbester as the stereotyped
man-eating-woman-exec Call Centre Manager Samantha had sensational
comic timing, sensationally aggressive physicality, and a killer
voice. She had just the right amount of “balls” to play this
character to a tee.
Jeremy Kewley as “Super Salesman” and
love interest Frank was the perfect Aussie regular bloke, having a
go and trying to do the best for the people he loves. Not an
overcooked character, just right for the story line and for
interaction with the rest of the characters. A very strong and
consistent performance, Jeremy’s portrayal was just right for the
leading male of this show. As a couple; Frank and Jean were totally
adorable, and totally plausible. Their chemistry translated very
well, I totally bought it.
I’ve left Tracey Harvey until last on
purpose, because as the Creator, Writer, and Star, I think this
chick is a champion! Although I am too young to remember Tracey from
her “Whittle Family” days (and apologies to all readers cringing at
this point), I think Tracey is one of the funniest performers I’ve
seen in a long time and it was a pleasure to watch her performance
alone, not considering that she wrote the damn thing!!! Tracey’s
Jean is tremendously funny but without giving the impression that
she’s working for laughs. Yet, Jean’s journey is the real star of
the piece. Her rollercoaster is quite poignant and sad at times; you
can’t help but feel sorry for her. If I had to pick two things that
I think made Tracey’s performance excellent, I’d say her delivery –
which is impeccable – and her facial expressions. I can’t even
explain them, but trust me, they are HILARIOUS! My sincere
congratulations on a fantastic effort all around. Seeing your idea
come to fruition must be very satisfying indeed.
And lastly, oh lucky readers, I have
just been informed that for the rest of the season, there is a TWO
FOR ONE ticket offer!!! Just call Chapel off Chapel on 8290 7000 and
ask for the offer. This is a fine piece of Original Australian
Theatre. It’s entertaining on every level, and it would be such a
shame if people missed this gem!!!
Melissa had a ridiculously busy 2008, appearing as “Sharpay Evans”
in High School Musical, in the ensemble of Aida, as “Lo Lo” in The
Merry Widow and as a soloist in the concert From Sondheim to
Schwartz. She also made her Choreographic debut with The Full Monty,
earning her a Lyrebird Nomination for Best Choreography of a
Musical, not to mention all the while being extremely busy as the
Editor of Theatre People! Other highlights from quieter times
include “Dorothy Brock” in
42nd Street and “Fluffy in Honk”.
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