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I Hope I Get
It
Presented by:
PEP
Productions
Reviewer:
Jennie Kellaway
Date Reviewed:
Saturday
14th November, 2009
The hook, the
question that was going to sell this show: Have you ever wondered
what it would be like to sit on an audition panel for a Broadway
show? Yes! What are the songs that a really going to guarantee that
you will get that elusive part?
Well, PEP’s latest
offering was going give us the secret in their show ‘I Hope I Get
It’. And what a fabulous concept- those songs that everyone does,
but we rarely see on stage. We were to be a fly on the wall at an
audition. That was the idea. The notion of being part of the
audition was not part of the deal however. My husband was extremely
worried as we arrived as instead of a ticket he received an audition
number! (He doesn’t do ‘sing’ let alone ‘audition’!) Fellow audience
members and cast members also appeared in the foyer wearing numbers.
We were asked what we were going to sing and the mood of excitement
was set for the evening.
Director Justin
Cleaver came up with the concept for the show after discussing the
audition process with a number of theatrical people. In his notes,
he also aimed to showcase the range of characters that come to an
audition and how a song can have a number of interpretations. In
some ways it was a bit of a ‘Chorus Line’ but with chairs. The links
to the songs and a few monologues was from the ‘Voice of the
Director’ played by Sean Pocock and the ‘Voice of the Choreographer’
played by Tess Smith.
The twelve
auditionees did not have any audible dialogue together, nor did they
introduce themselves or say anything to the panel (read audience).
It made it difficult to connect with the characters, and there was a
great deal of changing of pieces of costume whilst others were
performing, which at times was irritating. Some performers sustained
a character and others seemed confused about who they were trying to
be. Julia Roper’s ‘diva’ started with such promise but did not carry
through in her all of her songs. In some respects it was a ‘one gag
show’.
Musically Rowland
Brache and his off stage band were terrific with some creative
arrangements by Rowland. Choreography was by Hayley Wood. Some of
the lighting choices in the show were questionable. This may have be
a directorial decision as often songs began in the dark and
continued in the dark well into the first verse or even the chorus.
Lighting can be so important in creating a mood but it is vital that
we see the people singing. Once again PEP chose not to ‘mic’ their
performers. We were seated at the front of the auditorium and heard
the show well but I don’t know how the rest of the audience would
rate the sound.
PEP seem to attract
some very talented performers and there was certainly some
impressive names in the line up. Stand out performers amongst the
twelve members of the on-stage talent included: Jacqueline Levitas,
who sang Don’t Rain On My Parade, There Are Worse Things I Could Do
(as part of a trio with Mel Trickey and Vicki Barden), Part of Your
World, and Come to Your Senses (as a duet with Candy Sweetman), Mel
Trickey, who has really matured as a performer and whose enthusiasm
was infectious as she sang, Big Spender, Good Morning Baltimore and
led a number of the whole cast items, and Candy Sweetman who gave
her own renditions of As Long As He Needs Me, and Come to Your
Senses, as well as a monologue for A Streetcar Named Desire.
Kellie-Anne Kimber’s Alto’s Lament was an audience favourite.
Other cast members
had their own moments to shine. Jenter Zilm recreated his role in 25th
Annual Putnam County Spelling Bee with My Unfortunate Erection, and
he also sang up a storm with Anthem from Chess. Vicki Barden, better
known as musical director, came out of the orchestra pit to provide
poignant harmonies and add her own spin on ‘Maybe This Time’.
Similarly. well known director Julia Roper proved her talents in
songs such as ‘The Song That Goes Like That’ and ‘On My Own’. Ryan
Purdy, Harrison Wall, Phill Scanlon, Steven Kent and Tamblyn Smith
completed the cast.
Without wanting to
sound too negative there are a number of issues I had with the show.
Whilst I applaud the concept, there seemed little follow through
with the idea that we were seeing an audition for a Broadway
musical. The characters were not developed; the songs performed were
certainly very well known. Most of the songs have been performed
here in Melbourne this year as part of the various seasons within
our theatre community- we have all seen and heard these songs
before.
The show was
definitely not Broadway as there was not a hint of an American
accent (what happened to that aspect of the concept?) The two
renditions of ‘On My Own’ were either too much or not enough - it
may have been funnier if it was a running gag and everyone did their
take on the number, perhaps even the director stopping performers
before they sang the whole number.
The four monologues
did not work, try as the performers might, to give them instant
context; I would have preferred another song or two. Some of the
twelve performers were under-utilised. There was no need to keep
changing costume; individualised blacks would have been just as
effective. In changing costume, were the auditionees changing
character? In a real audition, rarely would performers change what
they are wearing. I also wonder about the choice of the Doncaster
Playhouse as a venue for their shows and their decision not to
amplify voices.
This
production gave us plenty to talk about on the ride home. I would
like to encourage groups like PEP who are taking risks in their
choice of material and giving young talent a chance to learn their
craft with seasoned performers. PEP seems to have a strong group of
people who support them backstage, but they need to build their
audience base. They are in the process of auditioning their next
show ‘Songs For a New World’ in February 2010.
Jennie has performed with many with theatre
companies for more years than she cares to remember. A primary
teacher, with post graduate qualifications in Arts Education, she
has taught music, drama, choir and performing arts and been involved
in all facets of stage craft. Her most recent stage exploits were in
SHooSH Productions -The Musical of Musicals( the musical) in
August this year.
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