Strange Bedfellow the New Review

Yes it is sort of what some of you wanted and have been looking for, hopefully it does not dissapoint. DS.


Strange Bedfellows: A New Musical has recently finished their run in Albury to great local acclaim, and was seen by over 8 thousand people. Bringing an amazing event to the local community through tourism, and cultural land-marking. The world premier season was well accepted by those who came to see it, and was a good way of highlighting the region.

A great deal of thanks needs to be given to Instinct Entertainment for choosing to do the production in the same region as the film, the Regent Cinema which allowed for the conversion of Cinema One back into the Regent Theatre. Then finally the AWTC and the volunteers who aided in showing people to their seats, the selling of merchandise and creating the feeling of a community event.

Do not worry though I am not an unrestrictive cheerleader- I do not look as good in the uniform and short skirt as either Claire Bennet, Kirsten Dunst, or any of the girls from Glee. But this is a review of the production both the good and the areas that might need improvement.

NOTES: This is based upon my viewing of the show on the soft opening and then over the next few times that I was engaged as a volunteer.

* The Regent Theatre

As would be expected from a converted cinema there was a bit of diversity. The upper level where most locals would be familiar with- because this is where they would sit for a film had nice comfy wide seats. They had cup holders and the lights for the isle were bright and were a good guide to aid in finding seats.

In comparison to the much older and less used seats on the lower level. They were given a spruce up for the show, but they were frankly a different kind of seat than on the upper level. These were leather seats, that were thinner, and did not have cup holders. These were more typical theatre style seats- and they were not uncomfortable. But they were a little faded from their age. The aisle lights were less bright down here and thus required the volunteers to rely upon their flashlights more than they had to upstairs.

In total the theatre was able to sit roughly one thousand people if both upstairs and downstairs were filled to capacity. The shows that I attended went roughly something like this;
- Near full capacity on soft opening.
- About 3/4 for about two shows.
- Then between 300-400 for the next few shows.

On the tickets instead of the simple labels of upper level or upstairs we were given the phrase- Dress Circle; and the lower level was referred to as the stalls; this caused a bit of confusion for patrons coming to see the show who were not familiar with these terms, and thus caused some delay in getting people to the seats on certain shows because they had to be sent to the other level.

* Staging

The stage had a rotating centre which reminded me of Les Miserables, and Thank God You're Here, but it was a quick efficient staging choice which is both aesthetically pleasing and removed the need to bring out different back drops for every scene. The rotating centre of the stage was able to fulfil the purpose of every scene with perhaps a change in lighting or the with the actors bringing on a limited amount of furniture or props to keep the scenes rolling, often while we are focused on the action down stage.

The orchestra was a factor that the production was pushing as a selling point. That the show was not a prerecorded show, but had a live orchestra. The orchestra instead of being placed in a pit at the front of the stage, they were relocated to a platform to the upper left (from the audience) which was depending upon where the audience was sitting was visible.

View of the Orchestra results;
- Upper level on the right or at the centre people were able to see the orchestra.
- Similar for down stairs.
- If anybody was placed on the left side, they were mostly hidden.

Also you were only really able to see certain players even when seated in the best viewed seats- so if it was the orchestra that you were mostly drawn to, then the staging was a little annoying.

Annoying it may be, it was unavoidable given the shape of the Regent Theatre. The production company was able to extend the stage out into the audience- to improve the view and immersion for the audience, and they also had to re-enforce it so that it was able to support the rotating stage. For them to have extended the stage area to produce an orchestra pit would not have only reduced the amount of people able to see the show, but would have added an unnecessary cost to the production.

The back drop for Yack had a dusty country feeling that enabled me to get into the mind set of these country people, and with the added lights it was also equally able to be a Sydney street. The cutouts of the magpies and cockatoos where also a really simple mi's en scene that added to the atmosphere of the stage.

* Lighting

The lighting for the majority of the show was sufficient there were a few moments that I think was a little odd however.

Near the beginning of the show when Ralph (John Wood) and Vince (Peter Cousens) head to the first town meeting, there is a moment when they are still in shadow whilst talking. A few seconds later we see that the chairs for the town meeting scene have been moved on, but does this really need to be hidden from the audience or was it supposed to show a passage of time. If so why are they still having the same conversation as when the light was still on? It just seemed a little odd, and either needs to be quicker or it needs to be considered for removal.

Lighting however had more of a part to play in the second act- with the Opener of the Second Act using the lighting to hilarious effect, and how one character was able to develop a lighting cue and shade all to themselves. Thus giving the sense that this character is so bright, that they are able to bring new shades to the main characters.

* Sound

The orchestra was well heard and the microphones on the actors were basically invisible, thus allowing the audience to continue with the characters without the sight of microphones dragging them out and reminding them it was a show (What would Brecht say?!).

On the other hand there were times during the show when the lyrics would be difficult to hear. Whether this was a pacing, lyrical, orchestral or sound problem is open to debate- the most pressing example would be the second half of 'On Your Way' and some lines of 'When My Glass is Full'.

* Actors- Peter Cousens as Vince

Peter was a great lead, he was able to capture the frenetic energy of Vince, and could explore the depressive worry, and the exhilarated excitement that the character roams through. He brings a level of quiet charisma and is one of the most experienced members of the cast.

Vince is the driving force of the show who pulls Ralph and in effect the rest of the cast through the hilarity and touching moments of the show. He easily flows from the solemn 'The Old Majestic' into the bouncy and optimistic 'When My Glass is Full'- however on certain nights either he was tired or he was too excited because he would be a bit before the music- but as a professional he was able to cover this to the majority of the audience and flow onwards.

It would be suitable to consider Vince the energetic partner to Ralph's straight man, and often delivers the set up with Ralph giving the punch line. In this process he was able to gain his own set of laughs as well. It was also nice to see that Peter was willing to explore and develop some of his lines in the last week of the show- whether these were notes, or of his own choosing, it was nice to see some further exploration- even if sometimes they did not work.

He is not afraid to put himself out there for the audience to judge with him holding the collective attention of the audience through the two mentioned songs and engage in a dance sequence that purposely compares him to two other dancers.

Favourite Song: You can't really go past 'When My Glass is Full'. It is one of the show highlights, and even if sometimes it he was too fast to be heard, or repeating some lines, it was clear to the audience that he was enjoying it, and we enjoyed it to.

Favourite Line: It is difficult to choose a favourite line considering that a fair portion are set up lines. Deferring away from those, I would have to say 'I didn't know you could be such a....bitch'.

* John Wood as Ralph

As Ralph was the straight man to Cousens Vince, but he easily was a highlight of the show, bringing in more than half of the laughs of the night. It was great casting, playing upon the collective memories of the audience recalling John Wood from his serious role on Blue Healers (for my international readers- this was an Australian Cop Drama), this role pulls a bag over that head- with fruit. He has a great amount of one-liners, some that clearly got some of the biggest laughs of the show. Also being the straight man he is able to use his awkwardness to great comedic effect, in some scenes it is just his body language that instills a laugh within the audience.

He also is allowed to have some touching moments through the connection with his daughter, Carla (played diligently by Ballarat Graduate, Jennifer Robinson). Wood is able to bring an Aussie father figure into these scenes with a sense of ease, that allows the audience to go with the flow.

It should be noted that on one performance that Wood is a good person to have on stage with you, in one performance where it appeared the Cousens had either paused for too long, or had temporarily misplaced his next line, Wood was able to (not perfectly mind you) but effectively summarise Cousens line as Ralph would have done it, allowing the distress of the scene to flow quickly as it should.

Favourite Song: Ralph has decidedly less songs that Vince- but since Cousens is more experience in Musical Theatre this is understandable. Wood has a nice voice, and he does not try any vocal acrobatics to his betterment. He is able to deliver his intention and be heard, with the sense of character required for Musical Theatre- so I hope he will continue to explore it in the future. But song choice, Vocal wise it would have to be 'Now that Was love' the first act- by himself. A short, but heartfelt song about his deceased wife.

Favourite Scene: Though many would probably say the act one finale, where it is a humourous visual joke, I would have to say either of the following would be better;
- During 'After Dinner Mince' where he tries to Mince. The difference in the movement of the different actors is a highlight in this scene.
- Or during his exchange with Vince where they are stating that they could do better if they were really gay.

* Melissa Langton as Vonny

Is an actress I had not heard of before, but she does have a voice, belting out the numbers with a decidedly Aussie twang. She is a confident comedienne, who is not only the Female Love Interest of Vince, but she is not your typical female lead. She is strong, opinionated and is able to give as good as she gets (on second thought maybe she is your typical modern female lead).

She seems a natural in the role inviting us into the show during the opening (though the sip out of the cup was always a little rushed and unnatural). She supplies not only laughs but brings a decidedly softer touch to the show.

Favourite Song: Just about all of her songs are very strong vocally, there is the humourous 'On the Scene Again', or the more touching 'Where have all the good blokes gone', or even her duet with the slightly less confident Jennifer Robinson in the rousing reprise of Robinson's act one 'How can I tell him'.

Favourite Scene: Her actions during the song, 'On the Scene Again', hands down.

*Matt Dyktynski as Erik

Erik is the character that although is stereotypical, is played well to effect, and during the surprise of his character is able to retain the audiences favour through sheer characterisation and professionalism. A hoot in 'After Dinner Mince'.

* Anthony Costanzo as Dolly

Dolly is the light affecting character mentioned before. Some of the lyrics in the Act Two opener are difficult to hear, but the enthusiastic energy flowing through the dance and the vocals will deter you from too close examination, as you get wrapped up in the moment. Sort of reminds me of La Cage La Faux at times, but the music more like Priscilla not necessarily a bad thing.

* Ross Hannaford and Josh Feldschuh as Carbo and Hughie respectively

These two supply the comedic relief and are the main spotlight for the younger people in the community. They are also very talented dancers, with most of the songs they are involved in having physical comedy, and various dance styles. Look out for their relevant song 'I don't know what to do' exploring the dilemma of many country kids.

* Colette Mann as Faith

She takes on the matriarch role, house in her squeaky voice, and little frame. But there is no denying that she has a presence, and though will be overlooked by some, she is an important feature of the show, and gives marvelous support, even having a song dedicated to her. Not as annoying as the Grand Dames that have been overused in Hello Dolly, Mame, Gypsy and so on, she brings comedy back to the older lady position.

* The rest of the cast

Seriously the cast blended together well, with cast from Melbourne treading the same steps as local actors. They were all blended well, and if you were not aware of who was from where, or read the programme before the show, it would be a distraction to try to pick out who was from where.

Local actors took on minor roles, and as part of the chorus, and were all applauded for their efforts. Some making sure to have stories and inside jokes that were a joy for those of us who had known about the show. Dan Carberry's bass was a welcome tone to the cast, filling out a section of the vocals that would have otherwise been low (pardon that). Stephen Armati and his wig joke, and being able to were the gay version of his police uniform were other things for locals to look out for.

Just about everyone from the cast had a moment to shine, even if it was just a line. The only two that do not jump out so were; Maddi Bullock and Ben Yonson, who had fun in various dance sequences and filled out the scene, but I guess I did not notice their time in the light as the others. But that is fine, because that is not the point of the show, otherwise it would be a school recital. Perhaps in the future...?

* Notes

There were a few moments however when it was not quite clean. For example during the opening number there is a line or dialogue and then a pause while people moved forward before they were to sing, it seemed an awkward pause and my one greatest concern with the beginning of the show. Also I understand the corny nostalgic quality of having everyone say a line at the same time ('Yes. That old thing'), it just seemed really out of place in the show.

Also in the second act having the explosive opening number bringing us in, we are then followed by two relatively slower songs in a row- 'The Big Smoke', and 'Joy of being Gay', this was the moment when I saw most fidgeting and so on from the audience. It is not the songs fault, they are both entertaining, they just seemed to roll into one longer song.

I like how they obviously played with the relationship between Carla and Peta during the last week, but the timing on that needs to be fixed before they continue on further because some of it was missed as the stage turns.

* Conclusion

Overall the show was a huge hit, and should be well received elsewhere, and I hope this review has given you a little taste of what to expect when it comes to a town near you. It is an enjoyable night out, and hopefully you will be more lucky to have a Cast Album ready to be purchased...that is the major thing wrong with the World Premier, no album, so you remember the melody of the songs, but are unable to recall all of the lyrics.


To check out the show, or to revisit it with merchandise check below.
www.strangebedfellows.com.au/

I would also invite you to comment and visit (register) the forum where you can discuss this or other posts;
http://dalesnewsblog.46.forumer.com/viewforum.php?f=2

Dale Stam