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Review by Paul David Watson

7th Oct 2007

The Set-up: I must preface this review by admitting that, like the great Graham Kennedy, this is my all-time favourite musical comedy. So hysterically funny is the script with classic triple set gags and room for creativity and pace, colourful characters, locations and songs, that even though on the surface it’s dated, it’s a great comic retrospective with a moral that is valid in today’s corporate environment. So if you watch through retrospective glasses, you fall in love… and then discuss the finer points later! So, did Babirra meet my expectations and “succeed”? Definitely! But unlike the success of the hero in the story, I dare say with a lot of effort and trying!

The History: How to Succeed… a 1961 musical, initially it ran for 1,417 performances. Music and lyrics by Frank Loesser, book by Abe Burrows, Jack Weinstock, and Willie Gilbert. The show won seven Tony Awards and the 1962 Pulitzer Prize for Drama. In 1967, it was produced as a film by United Artists with many of the original cast including Robert Morse recreating their roles. Original choreography for both versions was handled by the master, Bob Fosse and a highly-regarded 1995 Broadway revival starring Matthew Broderick and Megan Mullally ran for 548 performances and saw a brassy new re-write of the score and garnered a Tony for Broderick's performance.

The Synopsis: How to Succeed… is a choppy story about the triumph of the common man over not only the corporate giant, but his self acceptance. The hero, a self driven window washer named J. Pierrepont Finch (Jonathan Guthrie-Jones) who is desperate to create a better life. In this production Finch was already established at the outset in possession of THE book. (Problem, a small staged sequence during the overture showing Finch stumble upon the book helps set up his inquisitiveness… ala the film.) The book is entitled How to Succeed in Business Without Really Trying. Using this “self-help guide” Finch begins a dramatic and rapid rise up the corporate ladder by following detailed instructions in the book. Finch scams a job in the mailroom at the World Wide Wicket Company and starts the climb. With the help of his handy book, Finch slyly gets his promotions, while outsmarting his rival, Bud Frump. (James Cook) Frump (perfect villain name) happens to be the boss's nephew and relies on another classic devise to gain corporate advantage, nepotism! Finch’s helpless appearance attracts Rosemary, (Caroline Buckle) a secretary who provides him with support, while having her own agenda…Finch! In the end, everything becomes a nightmare, Finch's ad campaign goes awry, the company loses stock, and to top that off, Finch is caught kissing Hedy, (Clare Dea) the boss, J. B. Biggley’s (Zac Brown), “girl”! Thinking he is more focused on his career, Rosemary leaves Finch to fend for himself. Now on his own he turns to the book for guidance but without luck. He is forced to rely on his own wits. Ironically, being himself in the end gets him the girl and the top job…Chairman of the Board!

The Critique: The show opened and I was blown away! The first scenes certainly set the scale of things to come. The window-washing basket was a great idea, especially with not much character set-up time for the common window washer. If only it flew in! The office space was superb. A full stage, open-plan office high above New York! Solid legs, multiple playing levels, entrances/exits, full length windows looking out onto the city… this was simple design used effectively by the director. Painted like an Andy Warhol, it suited the show. A little texture would have been nice from the scenic art department, but you can’t knock it. You knew where you were for the next three hours. Wait…Did I just say three hours? Anyway, the elevator scenes worked and the bathroom sequence complete with toilets was hysterical! Favourite staging was the boardroom, with a round table in the middle of this open plan; it was all too voyeuristic, too real… and very well directed. Fantastic! My only staging gripes, the smaller office moments, the roof top party was unfortunately just black travelers, and I won’t mention the television show! I was also not sure of era? Surely 60’s, but office furniture was obviously 80’s or later, being molded plastic etc etc… But… hang on… Go back… did I just say three hours?! 

There are multiple small scenes, moving from one part of the building to another in quick succession making How To… hard to stage without a strong concept. Look, I’m going to say BIG KUDOS to the stage crew! The entire team worked so hard to get flow; unfortunately this is unavoidably what lets the show down. Not their fault though as it’s a design or direction problem. An interval at 9:45 is just 15 minutes too much, and I feel there could be some time that could be saved from this production. I think audiences today are keen to see theatre work, so maybe fewer blackouts would save 15 minutes and not kill momentum, which this show needs in abundance.

The Lighting by Jason Bovaird has once again proven his skills. His design was rich, even, and looked complete even without any haze! Unfortunately bound by the choppy staging the design left him with several blackouts to deal with. But all was managed with style.

Outlook Communications and Greg Ginger are awarded the consistent award for always delivering the very best. Sound was great! Could hear all we needed to hear and with rich tone. I think it proves the benefits of working with professionals like Greg and Jason, just another success and without really having to try too hard at all! They just do it!

Di Shepherd did such a great directing job. Sure, I have mentioned a few problems about the show running long, but you can forgive that. Di understood the very important element of not overselling the humour. The script works for the actors and most on-stage talent understood that. Character development in her principals was mostly wonderful, but what stood out was the enthusiasm of her ensemble. All sections of stage were thoroughly explored and the fourth wall was well placed in order to assist Finch communicate with the audience when needed.

Choreography was safe but near perfect for the varying level of expertise, well drilled and attacked with enthusiasm. However I feel that some numbers of the show were slightly over choreographed and not directed enough. Di is wonderful at creating vision and can only hope more and more performers get to work with her in the future.

Greame Burnham is so musically detailed that you can hear the benefit and other times you’re left pondering what he just did. He makes bold, strong choices and they pay off when delivered with conviction. A wonderful vocal sound, especially from the male chorus seemed almost effortless. I loved the attention to detail in Secretary, Brotherhood and Gotta Stop That Man. Orchestra was a little shaky in the opening couple of sections of the show but soon found the groove.

Jonathan Guthrie-Jones as Finch is outstanding! I was interested to see Jonathan tackle this “character” part, rather than the tall, dark, romantic-lead which suits him. He has proven himself as a versatile performer. I was thrown by his choice to play a geeky Finch? I see Finch as a commoner with fewer opportunities in life rather than a misfit, and it was difficult to watch initially with little difference between Finch and Bud, until you forgot about it, as solid character acting takes over and consistency introduces you to a very finely developed character. Wonderful! 

Zac Brown as J. B. Biggley is awarded B.O.G! As with Jonathan’s characterisation choice, I was worried at the start of the show. My concern was simple… Was Zac possibly too young? That was soon put to rest as experience and freakish comic timing came to the stage nailing joke after joke, all the while keeping sincerity and realism that is so easy to forget as the comedy can get carried away. This naughty little adulterer was someone whom you just love to have to love!

Caroline Buckle as Rosemary Pilkington is new to Melbourne Amateur Theatre and has made a good start. A good character was developed with a gorgeous voice. Caroline downplayed Rosemary in a cast that had a lot of “hams” in it and this I think helped her find a level. My only gripe were the solo numbers that were a little over choreographed, not Caroline’s choice but good to remember there is nothing wrong with standing strong.

Craig Martin as Bratt, Ang Cuy as Smitty, Brigid DeNeefe as Jonesy and Albert Tapper as Twimble all gave solid performances. Most had strong theatrical voicing, perfect for this show. Jonesy and Twimble were a pure delight. For a character who is managing human resource, I feel a little more could have been made of Bratt to command the attention and respect of his fellow employees. In opposition to that I thought the reverse with the overt jive of Smitty. Smitty had a pop tone, both in singing voice and portrayal. The script allows Smitty to explore a sexual confidence, but she was already fairly confident to begin with? It was a good performance by both, I just thought a little more colour, team work, journey and theatre could have been explored.

James Cook as Bud Frump was amazing, but also disappointing. I’m going to be tough on James. He’s an amazing talent, possibly one of the better character actors I have seen in ages, but so much attention was given to hundreds of consistent gags and 120% energy level that it lost its effect as there was no down time. In saying that, that is also why he is so amazing as he puts all that work into it. But that was the difference of chuckling along slightly or absolutely laughing our heads off. Give the punch line to the others occasionally and then you’re laughing!

Clare Dea as Hedy I feel was okay. Clare is gorgeous and fun and I liked her up there, but like James, a little too forced. A parody on a parody. My main problem with Clare was her voice, although Hedy can get away comically with bad singing, which Clare did purposefully and wonderfully, she can’t do that in the three part harmony. Clare just was not vocally there with the other talent. I would love to see her as Smitty, downplayed & slowly discovering the extroversion.

Ben Nguyen deserves special mention as the man responsible for energy in the ensemble. I thought the ensemble did a great job, but Ben was outstanding, hitting everything with 100% energy. Well done Ben, your performance is so very important to this production.

The Result: Apart from the laborious scene changes and a few scene-stealing principals that needed to be tamed, this show is an absolute winner! It never took itself serious enough to not be an enjoyable fantasy that has hysterical moments, yet it takes itself seriously enough to keep you focused on the choppy journey. It’s not chairman of the board but it’s definitely in on the meeting.

The Business: With the ever growing budgets and popularity surrounding doing the latest and greatest rights release, it is so refreshing to see Babirra having a classic “old school” yet original approach as producers. Choosing shows such as How To… (which hardly ever gets a run) to next year’s challenging juxtaposition of Annie Get Your Gun followed by La Belle Helene by Offenbach, details the company’s commitment to pleasing a broad sector of the community by offering consistently new experiences. From complimentary sherry to classic staging techniques… it has a feeling of community and warmth, and even though theatre is a business, and the bottom line is money, Babirra has feel, which is worth so much more. It’s like the edge has been taken off, and you can just sit back and relax and enjoy the show for what it is. So I wanted to take some time to encourage all of you reading to… sure, take in a big show, but don’t miss too many classic piece’s of community theatre. It’s the most important vehicle to support. It’s grass roots!

Shows that are left are the 11^th, 12^th, Friday the 13^{th, oooh} and a Saturday Matinee @ 2pm and an 8pm show. Booking number is 9885 9654 or visit the Babirra Web Site www.babirra.org.au