Free Rain's latest production is a retro delight, taking a 1966 musical that I'd previously been convinced was locked into it's old era (see my review of the 2015 Hayes Theatre company tour here) in a production that's stylish, clever and both a tribute to Bob Fosse's original choreography and prodeuction concept and a bright vehicle for new-to-Canberra-Stages Amy Orman. The show was originally a vehicle for Fosse's muse and wife, Gwen Verdon, and Orman is stage centre for 90% of the action, and absolutely owns the stage with confidence, charm and adorability - you take her to your heart in the first five minutes and never lose interest in her for the next two and a half hours of stage time.
The show itself is still the 1960's adaptation of Fellini's film "Nights of Cabiria" using the American phenomenon of taxi-dancers as a substitute for Fellini's prostitute, with a plot that is more a series of incidents in Charity's life rather than a developing narrative - but here, it's staged abstractly on Chris Zuber's set of abstract wire frames and see-through backdrops (with the orchestra visible behind), allowing the set to be cleared easily so the dance scenes can take over the stage whenvver required. A large chorus serves as both background, stage crew and occasionally furniture, as well as assembling for group numbers like "Big Spender", "Rich Man's Frug", "Rhythm of Life" and "I'm a Brass Band", but our focus is always on Charity's gentle, emotive reactions to the events that happen to her. The secret weapon of the show is Dorothy Field's sharp, slangy lyrics - sitting perfectly on the music while giving insight into character, always funny, fresh and surprising.
Teaming with Orman is a talented supporting cast - Vanessa Valois as the cynical, sharp and yet gently loving Nickie, Kristy Griffin as the equally sharp Helene, Alissa Pearson as the Fandango Ballroom's gruff-but-with-a-soft-side chief Herman, Joshua Kirk as the neurotic-but-loveable-up-until-the-last-scene-Oscar, Eamon McCaughan as the haughty-but-goofy lounge lizard celebrity Vittorio Vidal and Kate Lis as the fantastically groovy Daddy Brubeck.
Joel Horwood keeps the show flowing, incorporating scene shifts around Charity, never letting the tone dip into depressing and even wrangling with the show's notoriously tricky ending tone with speed and vigour to wrap things up on a not-too-down note. Callum Tolhurst-Close brings together cast and orchestra to create great versions of iconic songs, and choreographer James Tolhurst-Close captures the Fosse essence in his chorus with tight, spectacular performances of dances both across the cast ("Rich Man's Frug") and tight trios ("There's Gotta Be Something Better than This"). Fiona Leach's costumes are a rich mix of outfits from the elite black-and-white of the club Pompeii crowd to the sprawling colours of the Rhythm of Life church.
This is a fun, fresh vehicle that serves an iconic score and a well known show with charm, wit, spectacle and generous dollops of emotion. It's a great, sophisticated, clever night out.
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