"I Love You, You're Perfect, Now Change", Griffith University Queensland Conservatorium, Chapel Off Chapel, Saturday April 22nd 2017
"I Love You, You're Perfect, Now Change", with book and lyrics by Joe Dipietro and music by Jimmy Roberts was presented by the Griffith University Queensland Conservatorium, Chapel Off Chapel, on Saturday April 22nd 2017
For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. So if you want a re-telling of the story please refer to the links for further information or for further insights. Note, that I may provide different links for repeated main words or phrases. I write for my memories of what I have seen, and is more of a stream of consciousness.
Immediately arriving home I wrote the following paragraph onto my Facebook page:
"The Griffith University/Queensland Conservatorium
production of "I Love You, You're Perfect, Now Change" played a short three
night season at Chapel Off Chapel. They are going to play in Sydney at the Lend Lease Darling Quarter Theatre 1-25 Harbour St Sydney from April 27-29th 2017.
They did a fine job, with what is usually played as a four-hander, with a cast
of 27. The harmony singing was terrific and there were some very talented young
performers. They changed some of the songs for a larger ensemble that gives more
depth to the music. Some of the comedy timing works better than other scenes.
They played the poignant scenes with honesty. I laughed a lot tonight and
thoroughly enjoyed the show."Some scenes worked better than others, though the singing was generally very good. The diction with singing was clearer than some of the speaking. There were rich harmonies and this is where the cast shone with the large ensemble numbers.
Yes, some segues between scenes could do with tightening up. But, hey this is a student production of the highest quality.
Acting wise some of the cast maintained their character with more conviction than others. The best actors were those who clearly defined their character, even when a background player. It was terrific to see the roles shared among the whole cast. I now prefer this version with a larger cast as it showed us more versions of regular people in these situations, and struck a nerve-of-recognition by the audience's laughter and engagement.
The small orchestra of five played the score well and were not distracting as they were upstage centre during the entire show. Three of the orchestra were in the main cast and showed their versatility for future employers.
This musical was well cast with the student cast as they played a variety of roles and ages. This young cast brought Joe Dipietro's book and lyrics, and Jimmy Roberts' music to life. No wonder this show ran for nearly twelve years Off-Broadway with such a tight book and such hummable tunes.
Lighting Design by Tom Dodds was basic and adequate. The simplicity of the design was its success with no flashy tricks, but rather designs that kept our focus on the required action.
The programme clearly outlined the musical numbers and scenes with the corresponding cast list that aids in my memory of the show. I hope that more production companies follow their example.
Chapel Off Chapel has renovated the bar and toilets that gives the venue a much more appealing supporting role.
During Act Two, there was a mobile phone incident that the entire theatre could see. In the second row aisle seat, a woman just had to check her messages during a song. She held her phone up high enough so that the back row could not miss her rudeness. It was so distracting as the front row seats were vacant for any late comers. Her prominent holding of her phone so high even took the cast aback by her rudeness.
The opening set the scene for what we were to expect.
I do not remember "We Had It All" in the 1999 version that I saw at the Athenaeum Theatre. The "Not tonight I'm busy" scene was played well by Zoe Harlen and Oliver Lacey as they replayed variations of the scene over time. They set the mood and the standards for many of the scenes to follow.
"A Stud and a Babe" showed us how both Jessica Mahony and Grady Swithenbank can transition between nerdy characters to more confident characters. His costume was decidedly gaudy in keeping with the lyrics of the song.
The men sung "Why? Cause I'm a Guy" with gusto and verve. They showed their commitment to the choreography with their defined characters' poses and mannerisms. The ladies had masking concerns due to the small stage.
"Tear Jerk" showed us the change in Casey Martin's character with humour while he watched an unwanted "chick flick" as Shubshri Kandiah graciously and steadfastly held her characterisation. The ensemble on stage left was in semi darkness with a simple and effective lighting plot by Tom Dodds, reminiscent of the cinema scene from "Equus".
"The Lasagna Incident" was well staged with Jordan Malone restraining her sexual tension, while we questioned Philip Jones' character's sexual preference or his virginal naivety.
"And Now the Parents" was one of the funniest scenes due to the defined characterisations of the parents ably played by Olivia Fisher and Josh Whitten. The choreography by Helena Moore was crisp and clean with six framed observers seated watching the antics as if a Greek chorus. They reminded me of the paintings on the wall from Harry Potter's Hogwart's school halls observing the action. Austin David Cornish and Georgia Spark played the prospective couple and allowed the parents to shine during "Hey There, Single Gal/Guy". Some women in the seated ensemble were not as clean with their head movements as others. The crispness and sharpness added to the humour, especially with the more expressive faces.
"Satisfaction Guaranteed" was a funny scene especially with the entrance of the two men wearing lampshades on their heads. With no wing space they entered via the tunnel on the audience left. It would have been funnier with a cleaner entrance from the wings of a theatre, and these young performers navigated the space with some hesitation, but I admired their determination. Of all scenes, this looked like a drama school exercise.
"He Called Me" was a terrific scene especially for the journey of Shelise Vandal's character. She showed us how we can get caught in unwanted phone-calls with honesty, and juxtaposed this with the change in her surprise in the second phone-call. The choreography could have been executed a bit more accurately with the use of the pizza boxes.
"Scared Straight" was my favourite scene with the exactitude of intention from all four main players. The entrance of Elliot Baker will not be quickly forgotten. He has a rich tone to his voice and reminds me of Rowan Atkinson. The young couple Sammy Sand and Jenna Dearness-Dark showed us how quickly they could be convinced to be united by the measured manipulation of Elliot Baker and Georgia Bolton.
The "Wedding Vows" scene was well staged for a large cast on such a small stage. Some of the supporting cast defined and maintained their character more clearly than others. The kiss sealed the end of Act One.
Act Two began cleanly with the end of Act One kiss. This was where the basic lighting was at its best showing the couple in silhouette to begin the act.
Act Two shows the various characters aging with children, sexual deprivation, relationship complacency and funerals. The characters age well and are well cast.
"Always A Bridesmaid" was a song made in heaven for the statuesque Hannah Gwatkin. She would make a wonderful Ado Annie from "Oklahoma". The version of this song with two other females (Maddison McDonald and Zoe Harlan) and the lone male, Casey Martin was poignant and touching to reveal, that men too, can play second fiddle to a bride or groom. The harmonies were rich and emphasised the pathos of the scene. Here the costumes worked well to highlight the ridiculous amounts spent on weddings.
"Whatever Happened to Baby's Parents" and "The Baby Song", could have been hammed up, but not so, as this scene, was in the capable hands of this fine trio. They drew blood with the laughs they received from an audience who cringed in recognising common behaviours in this scene. Joshua Moore's humiliation of baby talk was haunting. The simple props aided the scene.
The "Waiting" sequence and the "Waiting Trio" song was better than the four characters version. The 32 seconds of the football game drew lots of laughs of recognition from the audience, as Georgia Bolton was not to be disturbed by Shrubshri Kandiah. The queuing for the ladies toilets was visually more realistic and desperate with five ladies. Manda Flannery had us convinced that she needed to pee. Josh Whitten was brilliant in his shopping porter sequence and the audience roared laughter with recognition at his character's plight. He is a real talent to watch and would be terrific as Nicely Nicely Johnson from "Guys and Dolls". This sequence reminded me of the split-action during Sydney Theatre Company's version of "Falsettos".
"The Family That Drives Together" and the song "On the Highway of Love" was my favourite scene for the clarity of defined characters by all five performers. The timing of the comedy worked beautifully with the sly nuanced idiosyncrasies of each character. Oliver Lacey as the dad who finally had control behind the wheel of his car revealed his macho ego, as the mother was played with requisite nervous tension by Courtney Monsma. The baby with dummy was played by Olivia Fisher, which was a great piece of casting, as she surprised us by her sudden change in age as the mother from "And Now the Parents". The two older sisters were played with conviction by Jessica Mahony and Jordan Malone.
"Shouldn't I Be Less in Love With You" highlighted the stillness of Meg Hamilton's aura as she quietly read the supplement from the newspaper, while her husband, Elliot Baker lamented his complacent love for her. The scene was more poignant for her measured underplaying and comfort in her own surroundings. Both played a middle aged couple with honesty.
"The Very First Dating Video of Rose Ritz" had Lauren Ware doing a sterling job in this self revelation that grows into a confessional scene of assurance and self satisfaction to be comfortable in her own skin. This is a scene of resolve and the final lines are telling as she does not want to change a thing, which is in stark contrast to the title of this musical.
"Funerals Are for Dating" and "I Can Live With That" was poignantly played by Georgia Spark and Caleb Robinson-Cook who played the older couple with conviction and sincerity. It is a very quiet and reflective sequence and brings the musical into clear focus of our humanity.
The finale, the "Epilogue" and "I Love You, You're Perfect Now Change" was stirring musically with the resounding and sensational harmonies of the ensemble. The staging was brilliant to pair or group the performers as we were reminded of each character's journey. I was glad for a reprise, but I wanted this whole sequence repeated. I think by the audience's applause they wanted "Epilogue" and "I Love You, You're Perfect Now Change" completely repeated.
Sue Rider, the director should be very proud of this fine group of young performers. Musical Director, Heidi Loveland should also be proud of the fine ensemble.
Overall, this production obtained an 8/10 from me, while my partner gave it an 8.5/10.
