Chapel Off Chapel, Prahran
Reviewed on October 9, 2014
Taking supporting characters from famous plays and musicals by giving them a second life is a bold theatrical concept, to say the least.
In 1966 the playwright, Tom Stoppard, did exactly this with several minor players from William Shakespeare’s ‘Hamlet’. He created and fleshed out an intelligent, original story focused entirely around two courtiers. With new action and exploits running in tandem to the original play, ‘Rosencrantz and Guildenstern Are Dead’ was as absurdist as it was hilarious. An immediate international hit, in 1990 it was eventually made into a film starring Gary Oldman (as Rosencrantz) and Tim Roth (as Guildenstern).
The writer, Winnie Holzman and composer, Stephen Schwartz also found global success with ‘Wicked’. In their care, the good and evil witches from L. Frank Baum’s The Wizard of Oz were suddenly propelled front and centre stage. Amongst its many charms, ‘Wicked’ also celebrated diversity, surviving friendship under extreme adversity, as well as being a sensitive study in contemporary feminism.
‘Guilty Pleasures’ is a new Australian piece that uses both the hit U.S. cable television show, ‘Orange Is The New Black,’ and particularly John Kandor and Fred Ebb’s musical, ‘Chicago’, as significant launching pads.
The expert production team of Joshua Robson (book and direction), Robert Tripolino (musical direction and composition), and Hugo Chiarella (lyrics) have fashioned a gripping cabaret act that immediately grabs one’s attention by the heart and throat. Never once does it let viewers’ involvement go during the show’s swift forty – five minute running time.
Based on the electrifying ‘Cell Block Tango’ sequence from Kandor and Ebb’s long – running Broadway masterpiece, Guilty Pleasures is essentially a study of five wronged women. Set in early twentieth century working – class America, these ladies will do what it takes to survive. Betrayed in love and life, it would be easy for us to hate and dismiss this group for their murderous crimes. Instead, we are shown their driving desperation full force, leading directly to the point of contact.
Similar to the motion pictures, ‘Things You Can Tell by Looking at Her’ and ‘Nine Lives’, ‘Guilty Pleasures’ gives us a snap shot account written entirely from its’ quintet of characters’ sharp perspective. There is satisfying attention to detail, right down to the use of every prop suitcase telling a story.
The one – woman show is fronted by Angelique Cassimatis, whose previous credits include King Kong, Mary Poppins, High School Musical and Annie. Cassimatis was also a finalist in the 2013 Rob Guest Endowment Award. Written and choreographed especially for her, this is an outstanding showcase for the talented young artist.
For here, Cassimatis is Amanda Plummer, Caroline O’Connor, Ute Lemper and Tracy Ullman all rolled up into one. She is an absolute master of accents and character study. Though linked by a shared tragedy, this group of women could not be any more different. Like Joanna Murray – Smith’s ‘Bombshells’, the transition from one woman’s story to the next is virtually seamless.
The show’s three original and vastly different songs run the gamut of human emotion. Hilarious yet moving by turns, they are all immediately accessible time pieces, reflective of America’s jazz age and post war depression.
Dialogue like ‘It seemed only fitting to gut the man who gutted me’, ‘It’s crazy how love takes over’, and ‘What could I have changed to make you love me?’ give ‘Guilty Pleasures’ a memorable and multi – layered poignancy at least worthy of a second viewing.
Closing the show, Amy Campbell constructed a dance piece for Cassimatis that had the same significant power as Cassie’s ‘Music and The Mirror’ from ‘A Chorus Line.’ It was a powerful moment that perfectly wrapped up the narrative.
Under Tripolino tight direction, the show’s four piece band was fronted by Barney Reiter on piano, Joel Conrad on bass, and Thomas Doublier on drums.
Lighting by Peter Amesbury smartly captures the show’s switching moods, and David Browne’s sound design was faultless.
This is a star – making vehicle for all concerned. Don’t miss it.
Image Source: Brisbane Powerhouse