Pete n Keely
Fri, 28 June 2013, 01:02 pmGordon the Optom1 post in thread
Pete n Keely
Fri, 28 June 2013, 01:02 pm‘Pete ‘n’ Keely’ started life as a hilarious play by James Hindman, it was then adapted to a musical comedy by Patrick Brady and Mark Waldrop. When first performed in 2000, it was nominated for best Off-Broadway Musical.
When entertainer Paul Peacock returned to Australia following a successful career in the UK, he became a singing and drama teacher at several of Perth’s best private schools. Eighteen months ago, after a few notable Australian film and theatre projects, Paul decided to give local performing artists a stage upon which to refine their craft. Based on a funky New York Jazz Club, Paul set up the ‘Underground Cabaret’ producing one or two very different cabarets each month.
This Australian Premiere of the show can be seen at the Chancery Bar in the Kings Perth Hotel, Hay Street, Perth. Performances are on Thursday 27th, Friday 28th and Saturday 29th June with curtain up at 8.00 pm.
The venue is very comfortable, with quite a small but very well equipped stage. The seating is cabaret style at small tables. Buffet meals and drinks are available at sensible prices.
In the 1950s, an unctuous singing duet Pete Bartel (Alan O’Neill) and Keely Stevens (Lindsay McNab) were America's darlings, and then, after thirteen years of shredded bliss and many infidelities, they divorced to have separate careers. Now it is 1968, and Pete and Keely have decided to reunite for a live television special. The old team of smooth-tongued presenter, Marty (Paul Peacock) and bandleader Del Da Costa (Tim How) is brought back. The stage manager (Shelley Ormerod) is smilingly efficient, but deep down, could she be jealous of Pete’s success with women. Even with this original setup, the darlings of the air know that their sparkle has gone.
In some amazing costumes, they go on to give their admiring public a collection of their old hits, and a summary of their travels around America and in Egypt. They finish their act with a Christmas celebration.
Will their six years apart bring a new warmth to their act?
The music director, Tim How is joined by Suresh Manievannan and Matt Cole to form a lively, quality accompaniment that gives the impression of a much larger group of musicians. The music selection covers dozens of golden oldies.
Shelley Ormerod operates the LED lighting, controls the action, props and has a small, fun audience participation.
A great deal of the fun of this show relies upon the dry humour and wonderful observations of the insincerity and hammy movements of the ‘50s TV performers. There is quite a pathetic thread running through the story as the couple who are fighting to regain their status tragically blame each other for their failure, but rather than lowering the enjoyment of the show, it adds another depth. For the whole 105 minutes, Lindsay and Alan demonstrate the subtlety of eye movements and body language of a couple in strife.
Sinead Bevan’s (May Cup) make-up, wigs and ghastly toupee raised a few smiles. Choreographer and movement supervisor, Manuao TeAotonga has kept the enjoyment and interest through the numerous songs.
Pete and Keely were reminiscent of Sonny and Cher when they first hit the screen. They have rendered a brilliant collection of some very tricky lyrics whilst subtly snarling at one another. As Keely sang, at times I thought of the highly talented singer, Mrs Mills, who had a wonderful voice and yet made her fame through crucifying songs. The characters were well observed, Pete being a little vague and always that half step behind his domineering partner. It became sadly obvious that Pete had now lost his girl pulling power as he pathetically tried to romance the audience.
This was a very demanding and ambitious show, even for this highly talented couple, but it was great fun, professionally presented and well worth seeing at their minimal price.
‘Pete ‘n’ Keely’ started life as a hilarious play by James Hindman, it was then adapted to a musical comedy by Patrick Brady and Mark Waldrop. When first performed in 2000, it was nominated for best Off-Broadway Musical.
When entertainer Paul Peacock returned to Australia following a successful career in the UK, he became a singing and drama teacher at several of Perth’s best private schools. Eighteen months ago, after a few notable Australian film and theatre projects, Paul decided to give local performing artists a stage upon which to refine their craft. Based on a funky New York Jazz Club, Paul set up the ‘Underground Cabaret’ producing one or two very different cabarets each month.
This Australian Premiere of the show can be seen at the Chancery Bar in the Kings Perth Hotel, Hay Street, Perth. Performances are on Thursday 27th, Friday 28th and Saturday 29th June with curtain up at 8.00 pm.
The venue is very comfortable, with quite a small but very well equipped stage. The seating is cabaret style at small tables. Buffet meals and drinks are available at sensible prices.
In the 1950s, an unctuous singing duet Pete Bartel (Alan O’Neill) and Keely Stevens (Lindsay McNab) were America's darlings, and then, after thirteen years of shredded bliss and many infidelities, they divorced to have separate careers. Now it is 1968, and Pete and Keely have decided to reunite for a live television special. The old team of smooth-tongued presenter, Marty (Paul Peacock) and bandleader Del Da Costa (Tim How) is brought back. The stage manager (Shelley Ormerod) is smilingly efficient, but deep down, could she be jealous of Pete’s success with women. Even with this original setup, the darlings of the air know that their sparkle has gone.
In some amazing costumes, they go on to give their admiring public a collection of their old hits, and a summary of their travels around America and in Egypt. They finish their act with a Christmas celebration.
Will their six years apart bring a new warmth to their act?
The music director, Tim How is joined by Suresh Manievannan and Matt Cole to form a lively, quality accompaniment that gives the impression of a much larger group of musicians. The music selection covers dozens of golden oldies.
Shelley Ormerod operates the LED lighting, controls the action, props and has a small, fun audience participation.
A great deal of the fun of this show relies upon the dry humour and wonderful observations of the insincerity and hammy movements of the ‘50s TV performers. There is quite a pathetic thread running through the story as the couple who are fighting to regain their status tragically blame each other for their failure, but rather than lowering the enjoyment of the show, it adds another depth. For the whole 105 minutes, Lindsay and Alan demonstrate the subtlety of eye movements and body language of a couple in strife.
Sinead Bevan’s (May Cup) make-up, wigs and ghastly toupee raised a few smiles. Choreographer and movement supervisor, Manuao TeAotonga has kept the enjoyment and interest through the numerous songs.
Pete and Keely were reminiscent of Sonny and Cher when they first hit the screen. They have rendered a brilliant collection of some very tricky lyrics whilst subtly snarling at one another. As Keely sang, at times I thought of the highly talented singer, Mrs Mills, who had a wonderful voice and yet made her fame through crucifying songs. The characters were well observed, Pete being a little vague and always that half step behind his domineering partner. It became sadly obvious that Pete had now lost his girl pulling power as he pathetically tried to romance the audience.
This was a very demanding and ambitious show, even for this highly talented couple, but it was great fun, professionally presented and well worth seeing at their minimal price.