The Best Little Whorehouse in Texas
Thu, 18 Aug 2005, 11:53 pmWalter Plinge6 posts in thread
The Best Little Whorehouse in Texas
Thu, 18 Aug 2005, 11:53 pmWHAT: The Best Little Whorehouse in Texas
WHEN: Saturday, August 6, 2005
WHERE: Goldfields Repertory Club, Kalgoorlie, WA
Last year I was required to travel to Kalgoorlie several times. I saw some most-enjoyable productions, was treated to unparalleled hospitality, and thoroughly enjoyed every minute of each trip. (Well, maybe not when the train broke down, but Transwa assures us that doesn't happen any more. Much.) In fact, because I had such great experiences each time, I now make it a point to attend productions at the Goldfields Repertory Club whenever possible.
Their location is no impediment to Kalgoorlie's thriving theatre and music community - professional and amateur. In fact, one might even say they embrace their arts with more enthusiasm than Perthites - precious as they are because of their isolation. The Goldfields Repertory Club is the longest continually-running theatre group in Western Australia - established in 1931 and still going strong, they're more active than many Perth groups - producing (usually) five full-length productions, a one-act season, and numerous club nights per year. I have just had the enormous pleasure of attending their latest show: a justifiably completely sold-out season of "The Best Little Whorehouse in Texas".
Go on, admit it. You immediately thought, "How appropriate for Kalgoorlie to stage a musical about a whorehouse." Granted, that's part of the novelty and attraction, but this is not a cheap gimmick for a hastily thrown-together show. This is a musical production that can hold its head high with the best that Perth has to offer.
Just think about that for a minute: 600 km from Perth; no WAAPA students; no Curtin or Murdoch theatre graduates; no willing pool of seasoned performers or talented newcomers stretching from Clarkson to Mandurah. Just a bunch of people in a 10 km radius clustered around a desert oasis. The same goes for props, sets, costumes, makeup and all the other things we take for granted ("Oh, we can find that") here in Perth.
For those that don't know, "The Best Little Whorehouse in Texas" tells the tale of the real-life "Chicken Ranch" - so nicknamed after those that worked there started accepting poultry in lieu of cash during the depression era. The Chicken Ranch operated peaceably for decades until a TV evangelist made it his personal crusade to shut the place down. A popular stage musical from 1977, it gained widespread appreciation upon release of the 1982 movie adaptation starring Dolly Parton and Burt Reynolds.
Being compared to Dolly Parton is challenge in itself, but courage and stamina beyond the call of duty must be accredited to the divine Allyson Corti as Miss Mona - madame of The Chicken Ranch. Apparently on Friday night, she could feel her throat getting sore. A hurried doctor's visit on Saturday morning confirmed bronchial laryngitis. A day of rest, modern pharmaceuticals, and the determination of someone who was NOT going to lose a night of this marvellous production, combined to return her to centre stage. Not a note was missed, not a line was lost. She performed every song immaculately - a slight huskiness the only evidence that any concern was to be had. Her strength and determination was evinced in laying down the law to the new girls, her warmth in bending the rules to accommodate the family needs of some, and her tenderness, femininity & palpable disappointment in the final heartwrenching scene (men can be such bastards!) Elegantly carrying her GORGEOUS costumes, she was utterly believable as she commanded centre stage, radiating authority and style, and was never drowned by the live band. It must have been the role of a lifetime for this talented performer.
Less than a decade ago, I remember putting together mix tapes - audio cassettes - and using them in productions. Swapping them over in the dark, feverishly fast-forwarding to the correct piece during the quiet scenes, trusting your entire music and sound effects repertoire to fragile magnetic tape. Things have come a long way since then. Sound quality, storage and playback have become infinitely superior. Still, nothing quite beats a live band. "The Best Little Whorehouse in Texas" boasted a five-piece band, live on stage, throughout the production. Upstage centre, continuously visible but unobtrusive on their custom-built platform, they provided superb accompaniment throughout. I'm no musical expert but I couldn't detect an incorrect note all night. They played at the right level, NEVER swamping the performers, and invaluably contributed to the theme, ambiance and overall effect of the production.
But back to the girls because, let's face it, they were the real stars of the show (Miss Mona included). Each of the girls had a distinct personality & style and came across as individuals rather than just faces in a chorus. And they were real women - not ridiculous stick insects. Which is, in actual fact, what you find in whorehouses. Beyond the facade of airbrushed advertisements are real women of all shapes, sizes, backgrounds and ages. Or so Travis tells me.
Some of the performers were seasoned professionals - and some of them have even acted before, heh heh heh. Sorry, cheap joke. The point I'm trying to make is that some of them were old pros (why am I thinking Tracee?) and others had never been on stage in their lives. Nevertheless, ALL created believable characters, ALL embraced the singin' & dancin' with gusto, none of them showed any embarrassment or hesitancy toward - essentially - running around in public in lingerie, and ALL of them were having the time of their lives. At NO point did I ever think, "That person's out of their depth." Rather, "That person cannot WAIT for their bit, it's fantastic to see such enthusiasm, and they are REALLY getting into it!"
And I'll bet if you were to ask any of them - any of them at all - they will say with complete conviction that it's all due to their director, Lisa van Oyen. Lisa has directed many shows for Goldfields Rep, but this is her first musical. Not only has she pulled this show together, she's bonded 34 performers - some experienced, many others not - and forged them into a coherent unit, a unified cast, a synergetic whole. Costumes, accents, laughs and drama, singing and dancing routines - both solos and ensembles - all worked. Lisa would undoubtedly acknowledge her vocal director (Jeanette Beckett), choreographer (Colleen Horton), production manager (Bruce Denny) and musical director (Andrew Smith), alongside numerous others, but, in the end, one person has to take overall responsibility. That's the lot of the director.
What else can I say about this show? Well, I've pussyfooted around the subject but can no longer control my enthusiasm for the costumes. Oh. My. God. If I'd been wearing a tie and freshly-starched collar I would've sawn my own head off. I didn't know WHERE to look. There was SO much happening on that stage almost ALL the time - and most of it enacted by beautiful women in lingerie. No one went and bought a job lot of seconds, either. There was a vast array of suspender belts, stockings, corsets, bustiers, torsolettes, bodystockings, babydolls, teddies, miniskirts, hot pants, boleros, garters, g-strings, bras 'n' panties. And not just lingerie, but some very fine overall costumes. The script is set in the '70s and there was plenty of evidence of "the time that fashion forgot". One - just one - of the many highlights was the scene were the local football club visited The Chicken Ranch. All the girls emerged in exquisite floor-length ballgowns - no two alike. I found out later that practically all of them were hand-made specifically for the show....
There were so MANY little moments like that. So many scenes, so many characters. I've only talked about the girls so far (and why not?) but there were a few guys in the show, too. Although Kevin Blair did look a bit girly in those flamboyant clothes and wig. Kevin revelled in the role of Melllllllllllllvin P. Thorpe! The holier-than-thou TV evangelist, clad in puffy silk shirts ("But I don't wanna be a pirate..."), surrounded by yes-men and his own troupe of gospel singers. (I LOVED the way his entourage were portrayed as almost as cheeky and sexy as the working girls they were trying to oust - it emphasised the hypocrisy of the entire situation.) There's discomfort in the fact that Kevin's character was truly despicable but his presence was loved. The audience adored every second of his narcissistic primping, preening and OTT antics but, of course, it was a guilty pleasure. A hateful, petty, sanctimonious little man, we loved him but didn't want him to win.
The other male lead was the "Burt Reynolds" role - Sheriff Ed Earl Dodd, played by Georg (sic) Eitelhuber. I'll admit, at first, I thought he was a bit stiff and overly gruff but his characterisation warmed. It stayed constant throughout (which is the whole point of creating a character) and became less gruff as he became amusingly agitated when Melvin started sniffing around. The character was consistent but also grew through the play. And that's another sign of great direction :-)
The list just goes on and on. Gavin Yates has come a long way from non-speaking roles (just a year ago) to a solo song-and-dance routine in a very funny (and sagely accurate) scene. I first saw Felicity May in "Popcorn" and, to be honest, thought her a little miscast as the teenage daughter. However, she had the perfect role here as "Shy", the new girl who's never "worked" before but quickly learned the ropes (heh heh) and, by the final curtain, was as natural and integrated as any of the other girls. Hers was perhaps the greatest journey in the production and she took us with her.
"There are no small roles, only small performers" must be tattooed somewhere on Val Coufos's body. If not careful, the role of Doatsey Mae, waitress at the local diner, could be a throwaway. Fortunately, Val wisely invested Doatsey with such sarcasm that it was dripping from every line. She could've been nothing but Val made us believe, laugh, and care about her, and she was quite clearly an audience favourite.
No stranger to Kalgoorlie's boards, Tracee Sliskovic oozed attitude and confidence as an "experienced" girl joining The Chicken Ranch. A finer pair of CFM boots haven't been seen since last year's DramaFest, LOL! It wasn't long before we peered behind her rough-as-sandpaper exterior to find the mother doing anything she had to to support her child. Personally I've always found it difficult to "fake" a telephone conversation. It's one of my pet peeves when, quite clearly, the actor or actress is rattling off the lines and obviously not talking to anyone. Not so here - it was convincing and poignant as she spoke to her little boy on the phone.
And I've left Danielle Cashmore until (almost) last because I really don't know where to start. My God, the VOICE on this young woman! Another example of what, peripherally scanning the script, may seem to be a small role, Danielle's Jewel, black housekeeper at The Chicken Ranch was one of the highlights of the show. Her solo "24 Hours of Lovin'" was possibly the most energetic and sensual song and dance number I've EVER seen. (Well, she started solo but the other girls soon joined in.) I'm exhausted once again just thinking about it. And it wasn't just her musical routines, Jewel exuded a no-nonsense, seen-everything attitude which made her believable as an integral part of the upkeep and defence of the Ranch. I wouldn't want to be on the receiving end of that rifle OR broom! But the biggest surprise of the night, meeting Danielle after the show - she's not black! I've never been so utterly convinced! I've most definitely seen some shonky makeup jobs in my time but this was undetectable. Danielle's makeup, body language and voice were impeccable. Well done!
As I said earlier, everyone had their moment in the sun and it's nigh-on impossible to recount them all. Some other favourites include the scene with Michelle Vos as the cheerleader who just would not shut the Hell up, and Ken Cotter's interviewer who wished he were anywhere else but there. Ken also had a great solo dance number in the football team's changing room, and was then ably supported by Brett Thomas. Both of these guys had joined the club only this year but looked like they'd been doing this for ages. Michael McLeod was also in "Popcorn" (where he was a bit OTT) but was pleasantly more restrained here, showing his range in a variety of roles - although I'd question the town's Mayor (and a US Senator) having an great big ugly lip stud
:-(
It was lovely too to see some up-and-coming youngsters on stage. No, no, no - they weren't prostitutes! Far from it. Michael Beckett, Louise Fleming and Tahlia van Oyen were cheerleaders, and it was great to see some of the club's younger members (and future stars) getting involved.
If anyone's still reading, they're probably becoming a bit bored with this constant praise. There were one or two things I didn't care for. The opening scene of the play was perhaps the least successful. The charismatic bandleader was charged with the responsibility of expounding the history of Texas' famous Chicken Ranch. He did a great job opening the show, setting the scene, but unfortunately the microphone he employed distorted his delivery, rendering him a bit difficult to understand. Immediately the cast launched into their first lines of music and dialogue, the delivery became crystal clear and all concerns evaporated. From there, no one could put a foot wrong when it came to projection and clarity.
I've talked about costumes. Many of the girls wore quite impressive wigs. Some of the guys wore wigs too, but these were occasionally... less impressive. Whether they didn't fit as well, or whether just more care needed to be taken, there were a couple of instances when they noticeably detracted from the proceedings. You often hear commented about musicals that the male chorus were weaker than the female chorus. I'd say that this show was an exception to that generality. The male chorus was very strong indeed and I have no problems with their singing. Their dancing wasn't quite as good. There were no major problems but once or twice in the "Aggie Song" the jumping-around looked a bit haphazard.
But hey, overall, that's not bad. If that's all I can find to pick on then we're doing pretty good. The props were incredible - real (blank) firing guns, real Texan (Lone Star) beers, real American money and newspapers, no effort was spared. Many productions I know either change things to suit what's available, or leave them out all together. Not so here. The stage crew were quick and efficient in placing and removing props and furniture, and this was always disguised by toe-tappin' background music from the band. I NEVER felt as though time was being wasted. And - upon consideration - it's probably a good idea that the crew WEREN'T in themed costumes....
The set was simple but effective, leaving lots of space for the large ensemble routines, but allowing hinged flats to be swung out when necessary. And these were some of the best painted flats I've seen in a long time. I'm ashamed to say I was so taken with their three-dimensionality and perspective, that I missed a few of the initial lines in some of the scenes. Huge commendations to the Artistic Designer, Kirsten Sivyer. While we're talking art, Kirsten photographed what is, without doubt, THE best poster for a theatrical show I've ever seen. Seriously. Bar none. If you haven't seen it, just wait until the Finleys.... Kudos to Paula Fletcher who designed said poster, as well as the show program. Apart from perhaps only Playlovers' "Grease", this was the best program I've ever seen! As I keep saying, they really go all out in Kalgoorlie - giving most of the Perth clubs a run for their money.
(Speaking of Playlovers, I think it'd be nice to acknowledge the support of David Young and Terry McAuley who loaned some of the costumes for the production. I LOVE it when that sort of thing happens! We're all in the same boat and it's great to see people from one club helping out another club!)
I'm sorry that it's taken a while to write this but I wanted to get all my many thoughts and congratulations in order. As one final compliment, I have to admit that, many days later, I still cannot get the song "Twenty Fans" out of my head. And I really don't mind.
I can't mention everyone, but I certainly can thank everyone for the most enjoyable evening I've had in a long time. Congratulations to all, and particularly director Lisa van Oyen, on an excellent show and a sell-out season. You deserve it.
JB
WHEN: Saturday, August 6, 2005
WHERE: Goldfields Repertory Club, Kalgoorlie, WA
Last year I was required to travel to Kalgoorlie several times. I saw some most-enjoyable productions, was treated to unparalleled hospitality, and thoroughly enjoyed every minute of each trip. (Well, maybe not when the train broke down, but Transwa assures us that doesn't happen any more. Much.) In fact, because I had such great experiences each time, I now make it a point to attend productions at the Goldfields Repertory Club whenever possible.
Their location is no impediment to Kalgoorlie's thriving theatre and music community - professional and amateur. In fact, one might even say they embrace their arts with more enthusiasm than Perthites - precious as they are because of their isolation. The Goldfields Repertory Club is the longest continually-running theatre group in Western Australia - established in 1931 and still going strong, they're more active than many Perth groups - producing (usually) five full-length productions, a one-act season, and numerous club nights per year. I have just had the enormous pleasure of attending their latest show: a justifiably completely sold-out season of "The Best Little Whorehouse in Texas".
Go on, admit it. You immediately thought, "How appropriate for Kalgoorlie to stage a musical about a whorehouse." Granted, that's part of the novelty and attraction, but this is not a cheap gimmick for a hastily thrown-together show. This is a musical production that can hold its head high with the best that Perth has to offer.
Just think about that for a minute: 600 km from Perth; no WAAPA students; no Curtin or Murdoch theatre graduates; no willing pool of seasoned performers or talented newcomers stretching from Clarkson to Mandurah. Just a bunch of people in a 10 km radius clustered around a desert oasis. The same goes for props, sets, costumes, makeup and all the other things we take for granted ("Oh, we can find that") here in Perth.
For those that don't know, "The Best Little Whorehouse in Texas" tells the tale of the real-life "Chicken Ranch" - so nicknamed after those that worked there started accepting poultry in lieu of cash during the depression era. The Chicken Ranch operated peaceably for decades until a TV evangelist made it his personal crusade to shut the place down. A popular stage musical from 1977, it gained widespread appreciation upon release of the 1982 movie adaptation starring Dolly Parton and Burt Reynolds.
Being compared to Dolly Parton is challenge in itself, but courage and stamina beyond the call of duty must be accredited to the divine Allyson Corti as Miss Mona - madame of The Chicken Ranch. Apparently on Friday night, she could feel her throat getting sore. A hurried doctor's visit on Saturday morning confirmed bronchial laryngitis. A day of rest, modern pharmaceuticals, and the determination of someone who was NOT going to lose a night of this marvellous production, combined to return her to centre stage. Not a note was missed, not a line was lost. She performed every song immaculately - a slight huskiness the only evidence that any concern was to be had. Her strength and determination was evinced in laying down the law to the new girls, her warmth in bending the rules to accommodate the family needs of some, and her tenderness, femininity & palpable disappointment in the final heartwrenching scene (men can be such bastards!) Elegantly carrying her GORGEOUS costumes, she was utterly believable as she commanded centre stage, radiating authority and style, and was never drowned by the live band. It must have been the role of a lifetime for this talented performer.
Less than a decade ago, I remember putting together mix tapes - audio cassettes - and using them in productions. Swapping them over in the dark, feverishly fast-forwarding to the correct piece during the quiet scenes, trusting your entire music and sound effects repertoire to fragile magnetic tape. Things have come a long way since then. Sound quality, storage and playback have become infinitely superior. Still, nothing quite beats a live band. "The Best Little Whorehouse in Texas" boasted a five-piece band, live on stage, throughout the production. Upstage centre, continuously visible but unobtrusive on their custom-built platform, they provided superb accompaniment throughout. I'm no musical expert but I couldn't detect an incorrect note all night. They played at the right level, NEVER swamping the performers, and invaluably contributed to the theme, ambiance and overall effect of the production.
But back to the girls because, let's face it, they were the real stars of the show (Miss Mona included). Each of the girls had a distinct personality & style and came across as individuals rather than just faces in a chorus. And they were real women - not ridiculous stick insects. Which is, in actual fact, what you find in whorehouses. Beyond the facade of airbrushed advertisements are real women of all shapes, sizes, backgrounds and ages. Or so Travis tells me.
Some of the performers were seasoned professionals - and some of them have even acted before, heh heh heh. Sorry, cheap joke. The point I'm trying to make is that some of them were old pros (why am I thinking Tracee?) and others had never been on stage in their lives. Nevertheless, ALL created believable characters, ALL embraced the singin' & dancin' with gusto, none of them showed any embarrassment or hesitancy toward - essentially - running around in public in lingerie, and ALL of them were having the time of their lives. At NO point did I ever think, "That person's out of their depth." Rather, "That person cannot WAIT for their bit, it's fantastic to see such enthusiasm, and they are REALLY getting into it!"
And I'll bet if you were to ask any of them - any of them at all - they will say with complete conviction that it's all due to their director, Lisa van Oyen. Lisa has directed many shows for Goldfields Rep, but this is her first musical. Not only has she pulled this show together, she's bonded 34 performers - some experienced, many others not - and forged them into a coherent unit, a unified cast, a synergetic whole. Costumes, accents, laughs and drama, singing and dancing routines - both solos and ensembles - all worked. Lisa would undoubtedly acknowledge her vocal director (Jeanette Beckett), choreographer (Colleen Horton), production manager (Bruce Denny) and musical director (Andrew Smith), alongside numerous others, but, in the end, one person has to take overall responsibility. That's the lot of the director.
What else can I say about this show? Well, I've pussyfooted around the subject but can no longer control my enthusiasm for the costumes. Oh. My. God. If I'd been wearing a tie and freshly-starched collar I would've sawn my own head off. I didn't know WHERE to look. There was SO much happening on that stage almost ALL the time - and most of it enacted by beautiful women in lingerie. No one went and bought a job lot of seconds, either. There was a vast array of suspender belts, stockings, corsets, bustiers, torsolettes, bodystockings, babydolls, teddies, miniskirts, hot pants, boleros, garters, g-strings, bras 'n' panties. And not just lingerie, but some very fine overall costumes. The script is set in the '70s and there was plenty of evidence of "the time that fashion forgot". One - just one - of the many highlights was the scene were the local football club visited The Chicken Ranch. All the girls emerged in exquisite floor-length ballgowns - no two alike. I found out later that practically all of them were hand-made specifically for the show....
There were so MANY little moments like that. So many scenes, so many characters. I've only talked about the girls so far (and why not?) but there were a few guys in the show, too. Although Kevin Blair did look a bit girly in those flamboyant clothes and wig. Kevin revelled in the role of Melllllllllllllvin P. Thorpe! The holier-than-thou TV evangelist, clad in puffy silk shirts ("But I don't wanna be a pirate..."), surrounded by yes-men and his own troupe of gospel singers. (I LOVED the way his entourage were portrayed as almost as cheeky and sexy as the working girls they were trying to oust - it emphasised the hypocrisy of the entire situation.) There's discomfort in the fact that Kevin's character was truly despicable but his presence was loved. The audience adored every second of his narcissistic primping, preening and OTT antics but, of course, it was a guilty pleasure. A hateful, petty, sanctimonious little man, we loved him but didn't want him to win.
The other male lead was the "Burt Reynolds" role - Sheriff Ed Earl Dodd, played by Georg (sic) Eitelhuber. I'll admit, at first, I thought he was a bit stiff and overly gruff but his characterisation warmed. It stayed constant throughout (which is the whole point of creating a character) and became less gruff as he became amusingly agitated when Melvin started sniffing around. The character was consistent but also grew through the play. And that's another sign of great direction :-)
The list just goes on and on. Gavin Yates has come a long way from non-speaking roles (just a year ago) to a solo song-and-dance routine in a very funny (and sagely accurate) scene. I first saw Felicity May in "Popcorn" and, to be honest, thought her a little miscast as the teenage daughter. However, she had the perfect role here as "Shy", the new girl who's never "worked" before but quickly learned the ropes (heh heh) and, by the final curtain, was as natural and integrated as any of the other girls. Hers was perhaps the greatest journey in the production and she took us with her.
"There are no small roles, only small performers" must be tattooed somewhere on Val Coufos's body. If not careful, the role of Doatsey Mae, waitress at the local diner, could be a throwaway. Fortunately, Val wisely invested Doatsey with such sarcasm that it was dripping from every line. She could've been nothing but Val made us believe, laugh, and care about her, and she was quite clearly an audience favourite.
No stranger to Kalgoorlie's boards, Tracee Sliskovic oozed attitude and confidence as an "experienced" girl joining The Chicken Ranch. A finer pair of CFM boots haven't been seen since last year's DramaFest, LOL! It wasn't long before we peered behind her rough-as-sandpaper exterior to find the mother doing anything she had to to support her child. Personally I've always found it difficult to "fake" a telephone conversation. It's one of my pet peeves when, quite clearly, the actor or actress is rattling off the lines and obviously not talking to anyone. Not so here - it was convincing and poignant as she spoke to her little boy on the phone.
And I've left Danielle Cashmore until (almost) last because I really don't know where to start. My God, the VOICE on this young woman! Another example of what, peripherally scanning the script, may seem to be a small role, Danielle's Jewel, black housekeeper at The Chicken Ranch was one of the highlights of the show. Her solo "24 Hours of Lovin'" was possibly the most energetic and sensual song and dance number I've EVER seen. (Well, she started solo but the other girls soon joined in.) I'm exhausted once again just thinking about it. And it wasn't just her musical routines, Jewel exuded a no-nonsense, seen-everything attitude which made her believable as an integral part of the upkeep and defence of the Ranch. I wouldn't want to be on the receiving end of that rifle OR broom! But the biggest surprise of the night, meeting Danielle after the show - she's not black! I've never been so utterly convinced! I've most definitely seen some shonky makeup jobs in my time but this was undetectable. Danielle's makeup, body language and voice were impeccable. Well done!
As I said earlier, everyone had their moment in the sun and it's nigh-on impossible to recount them all. Some other favourites include the scene with Michelle Vos as the cheerleader who just would not shut the Hell up, and Ken Cotter's interviewer who wished he were anywhere else but there. Ken also had a great solo dance number in the football team's changing room, and was then ably supported by Brett Thomas. Both of these guys had joined the club only this year but looked like they'd been doing this for ages. Michael McLeod was also in "Popcorn" (where he was a bit OTT) but was pleasantly more restrained here, showing his range in a variety of roles - although I'd question the town's Mayor (and a US Senator) having an great big ugly lip stud
:-(
It was lovely too to see some up-and-coming youngsters on stage. No, no, no - they weren't prostitutes! Far from it. Michael Beckett, Louise Fleming and Tahlia van Oyen were cheerleaders, and it was great to see some of the club's younger members (and future stars) getting involved.
If anyone's still reading, they're probably becoming a bit bored with this constant praise. There were one or two things I didn't care for. The opening scene of the play was perhaps the least successful. The charismatic bandleader was charged with the responsibility of expounding the history of Texas' famous Chicken Ranch. He did a great job opening the show, setting the scene, but unfortunately the microphone he employed distorted his delivery, rendering him a bit difficult to understand. Immediately the cast launched into their first lines of music and dialogue, the delivery became crystal clear and all concerns evaporated. From there, no one could put a foot wrong when it came to projection and clarity.
I've talked about costumes. Many of the girls wore quite impressive wigs. Some of the guys wore wigs too, but these were occasionally... less impressive. Whether they didn't fit as well, or whether just more care needed to be taken, there were a couple of instances when they noticeably detracted from the proceedings. You often hear commented about musicals that the male chorus were weaker than the female chorus. I'd say that this show was an exception to that generality. The male chorus was very strong indeed and I have no problems with their singing. Their dancing wasn't quite as good. There were no major problems but once or twice in the "Aggie Song" the jumping-around looked a bit haphazard.
But hey, overall, that's not bad. If that's all I can find to pick on then we're doing pretty good. The props were incredible - real (blank) firing guns, real Texan (Lone Star) beers, real American money and newspapers, no effort was spared. Many productions I know either change things to suit what's available, or leave them out all together. Not so here. The stage crew were quick and efficient in placing and removing props and furniture, and this was always disguised by toe-tappin' background music from the band. I NEVER felt as though time was being wasted. And - upon consideration - it's probably a good idea that the crew WEREN'T in themed costumes....
The set was simple but effective, leaving lots of space for the large ensemble routines, but allowing hinged flats to be swung out when necessary. And these were some of the best painted flats I've seen in a long time. I'm ashamed to say I was so taken with their three-dimensionality and perspective, that I missed a few of the initial lines in some of the scenes. Huge commendations to the Artistic Designer, Kirsten Sivyer. While we're talking art, Kirsten photographed what is, without doubt, THE best poster for a theatrical show I've ever seen. Seriously. Bar none. If you haven't seen it, just wait until the Finleys.... Kudos to Paula Fletcher who designed said poster, as well as the show program. Apart from perhaps only Playlovers' "Grease", this was the best program I've ever seen! As I keep saying, they really go all out in Kalgoorlie - giving most of the Perth clubs a run for their money.
(Speaking of Playlovers, I think it'd be nice to acknowledge the support of David Young and Terry McAuley who loaned some of the costumes for the production. I LOVE it when that sort of thing happens! We're all in the same boat and it's great to see people from one club helping out another club!)
I'm sorry that it's taken a while to write this but I wanted to get all my many thoughts and congratulations in order. As one final compliment, I have to admit that, many days later, I still cannot get the song "Twenty Fans" out of my head. And I really don't mind.
I can't mention everyone, but I certainly can thank everyone for the most enjoyable evening I've had in a long time. Congratulations to all, and particularly director Lisa van Oyen, on an excellent show and a sell-out season. You deserve it.
JB