JYM Theatre Company
Phoenix Theatre, Elsternwick
Reviewed on May 17, 2010
For those of you unfamiliar with John Updike’s best seller, or the 1987 George Miller blockbuster film upon which this John Dempsey and Dana P. Row book musical is based, don’t despair. Think television’s Desperate Housewives meets Charmed, with a dash of Glee thrown in for good measure.
The story traces the adventures of three close, but restless, long – time Rhode Island girlfriends. Forming this union are jaded sculptor, Alexander Spofford, prim cellist, Jane Smart, and perpetually tongue – tied poet, Sukie Rougemont. One night over drinks, they wish for the perfect partner.
Their dream soon becomes a reality when a mysterious newcomer moves into the vacant Lenox mansion. Introducing himself as Daryl Van Horne, like a veritable Harold Hill from The Music Man, he wastes little time ingratiating himself with the townspeople. Then, one by one, he fascinates and seduces Alex, Jane, then Sukie, until they magically fall under his spell.
Chaos ensues when Eastwick’s self – elected leader (and resident trouble – maker), Felicia Gabriel, objects to Van Horne’s lack of moral fibre. Soon, when the three friends move in with Daryl, the town becomes a hot bed of gossip and innuendo. A Shakespearian subplot involving a sweet yet secretive romance between Alex’s son, Michael, and Felicia’s daughter, Jennifer, cleverly ties both stories together into one thrilling climax.
Quick on the heels of their last effort, Cabaret, JYM Theatre Company presents a bold but brilliant choice with this hot new show. Thanks to its toe – tapping music, animated dance sequences, hilarious waves of dialogue and fast – paced action, this Witches of Eastwick is both a loving tribute to, and a delicious deconstruction of the best Broadway has to offer.
Is it any surprise the confident young cast bite into the comic possibilities with energetic gusto. An intensive development period under the careful watch of its experienced production team, headed by director, Brendan Cohen, vocal director, Luke Hales, choreographer, Danielle Savio, and orchestral director, Phillip Setton, pinpoints that not even the smallest detail has been left to chance.
Romi Freedman as Alex, Kathryn Sutherland (Jane), and Hayley Nissen as Sukie, share a genuine chemistry. In expert hands, this trio establish characters and connection from the get go. Solo and in combination, their harmonious singing voices highlight a lush and accessible score. Early on, the ballad, Make Him Mine, is particularly memorable for these reasons alone.
In turn, as each of the female leads is introduced to Daryl, they explore duets with him that not only advance the plot, but allow their individual characters to blossom and grow.
Firstly, Freedman sings Alex’s Eye of The Beholder like a flirtatious kitten. Then, as a sly tribute to Christine Daaé and the great masked man, Sutherland’s Jane becomes pupil to Daryl’s Svengali, with the lyrical Waiting For The Music.
As Suike, Hayley Nissen’s interpretation of Words, Words, Words is astonishing. Reminiscent of Amy’s famous pre – nuptual breakdown, Not Getting Married Today, from Stephen Sondheim’s Company, Nissen absolutely nails the moment.
All three songs cement Daryl’s lecherous sex appeal, and as the man in question, Adam Kirk plays Van Horne to the hilt.
Combining manipulative charm with an evangelical relish, Kirk holds the stage with strong singing and a commanding physical presence. Where the book and film saw Daryl dip into darker and more sinister territory, here, Kirk ticks off the seven deadly sins one by one with cartoon vulgarity. He is the first devilish villain you’ll love to hate since Damn Yankees’ Mr Applegate.
By playing her part straight – faced, Dina Zaitman doesn’t just act her part. She is Felicia. You really feel the First Lady of Eastwick’s rage and contempt for Van Horne, especially her disgust with his newly – acquired harem.
Oliver Rose, as her downtrodden spouse, Clyde, has the line of the show mid – way through the second act. Delivering it with guiless aplomb, he had the audience in stitches. Together, both actors are sitcom hilarious.
As the saccharine young lovers, don’t be fooled by Jeremy Splitter as Michael Spofford and Rachel Tigel as Jennifer Gabriel. Under Daryl’s spell, they too get caught up in the town’s mayhem. Splitter and Tigel clearly enjoy the double – sided evolution of their characters.
Daniel Aronov as Fidel and Ashleigh Kiven as The Little Girl delight in their own comic moments, beautifully played. Also, a fine ensemble rounds out the cast with musical numbers such as Dirty Laundry, an adult take on Bye Bye Birdie’s Telephone Hour, as well as The Glory of Me, creating a moment of grand gospel revival.
Special mention must be made to orchestral director, Philip Setton, for his taut orchestral direction, and Marcello Lo Ricco for faultless sound design. Sometimes shows are let down in these areas, and key components of dialogue and music are lost. This was not the case here.
Like Melbourne’s own Production Company, Brendan Cohen has taken a lateral approach to staging. This allows us to focus on the characters and the plot without being overpowered by intrusive pyrotechnics. With deceptive simplicity, the show consists of giant props, adding to the candy – coloured fantasy unfolding before our eyes. Shari Cohen’s colour – coded costuming, a glowing tribute to wholesome Americana, before turning it on its head, is a brilliant touch. Danielle Savio’s choreography and Yossi Torbiner’s lighting add to the evening’s fun.
Elsternwick’s Phoenix Theatre is the ideal venue. Raked seating not only allows an unobstructed view of the action, the audience becomes at one with the show.
Finally, as this is a show about witches, without giving anything else away, be prepared for some clever slights of hand and several moments of true trickery. As one of the main characters laments, “Life was once cold and sterile. Now it’s positively feral.”
Don’t miss out.
Image Source: JYM Theatre Company