High and low

High Society, Hayes Theatre Co, Sydney, September 7; Anything Goes, Sydney Opera House, September 8   

IN one giddy night of mayhem, pairs of lovers – former, would-be, should-be, desperately mismatched – ricochet around in the search for a safe harbour. Intoxicants are taken, identities are mistaken, the low-born mingle with the high-born, a man is very much an ass and everything turns out for the best in the end.

No, not A Midsummer Night’s Dream but High Society, which in the hands of director Helen Dallimore and a blue-chip cast is a blissful demonstration of just how foolish we mortals can be. Throw in a selection of Cole Porter songs (Who Wants to Be a Millionaire?, True Love, Let’s Misbehave and many more) and the happiness is complete.

The 1997 musical (book by Arthur Kopit, additional lyrics by Susan Birkenhead) is based on the 1956 film based on Philip Barry’s 1940 play The Philadelphia Story. Rich and beautiful Tracy Lord (Amy Lepahmer, adorable) is about to marry George Kittredge (Scott Irwin, hilarious) so upright you could use him as a plumbline and thick with it. Tracy’s former husband CK Dexter Haven (Bert LaBonte, coolly suave) pops by to solve a problem and cause mischief simultaneously and two party-crashing journalists (Virginia Gay and Bobby Fox, perfection) stir the pot and arouse passions.

Michelle Barr, Amy Lehpamer and Phillip Lowe in High Society

Michelle Barr, Amy Lehpamer and Phillip Lowe in High Society

Tracy’s parents are having a spot of marital bother of their own, her Uncle Willie is a drunken, lascivious old goat and young sister Dinah is a sharp-eyed, sharp-tongued observer and meddler. It’s all go in the Lord household as a pre-wedding bash for 700 guests gets underway.

How to manage that in a 110-seat theatre? Amusingly and effectively, as it happens, with set designer Lauren Peters cunningly representing the glamorous big-house, old-money setting with a simple set of moveable arches. She even gets in a cheeky reveal after interval. Not only are changes of location achieved in an instant, there’s a pleasing swirl that echoes the emotional eddies and flows. The four-piece band – yes, only four – under Daryl Wallis’s direction achieves wonders and the sound balance is far better than usual at the Hayes, which is a big win.

LaBonte gives a slow-burn performance that speaks of feelings kept in check under a glossy and sophisticated exterior and Jessica Whitfield is very funny as Dinah, the wise-beyond-her-years kid who wants to save Tracy from herself. With Delia Hannah as Tracy and Dinah’s mother Margaret, Russell Cheek as Margaret’s errant husband Seth, Laurence Coy enjoyably chewing the scenery as Uncle Willie and Michelle Barr and Phillip Lowe as the two-person chorus of household servants, it’s a classy cast from top to bottom.

And you’d have to go a long way to see better than Lepahmer, Gay and Fox. Lepahmer looks a million dollars in her slinky red gown and is a greatly gifted, all-singing, all-dancing comedienne. Fox gets writer Mike Connor’s mix of cracking hardy and regret at wasted talent. And as Liz Imbrie, Gay gives a performance that should have music-theatre fans from around the country rushing to see it. In love with Mike, avoiding Uncle Willie’s clutches, seeing everything and understanding all, she is smart and witty and heartbreaking.

The contrast between High Society and Anything Goes, seen – partially – the following evening, couldn’t have been greater. The light, fizzing comedy so necessary for Cole Porter’s imperishable melodies and the featherweight storyline of Anything Goes (young lovers; social climbing; a nightclub singer who was previously an evangelist; gangsters on the run) is AWOL. There is little other than Dale Ferguson’s lovely costumes to evoke the drop-dead glamour of a sea crossing from New York to London in the 1930s. Director Dean Bryant leans too heavily on material that should be nimble and buoyant as it flies through the serial improbabilities of the book. I was so disheartened I left at interval so my comments, necessarily brief, must therefore be seen in that light. The second half may have delighted.

High Society ends October 4. Anything Goes ends October 31. 

Noel and Gertie, The Removalists

Noel and Gertie, a CDP production, Glen St Theatre, Sydney, May 25.

The Removalists, Tamarama Rock Surfers, Bondi Pavilion, Sydney, May 29

NOEL Coward and Gertrude Lawrence met as child actors and immediately and lastingly took to one another. Sheridan Morley’s evocation of their bond, Noel and Gertie, was created in 1981 to be performed at a benefit, although its careful construction meant it had a later life in several theatre seasons in the 1980s in London. It’s a wisp of a piece: amusing, charming and deftly avoiding anything too personal – not that Morley was unacquainted with this subjects as he had written biographies of both. He chose, however, to concentrate on the glamour, wit and style of the pair as refracted through the theatah.

Lucy Maunder and James Millar in Noel and Gertie. Photo: Nicholas Higgins

Lucy Maunder and James Millar in Noel and Gertie. Photo: Nicholas Higgins

Naturally this means lots of lovely songs, sensitively accompanied on grand piano by music director Vincent Colagiuri, and happy reminders of Coward’s stage works. Scenes from plays – Private Lives, of course; Blithe Spirit; Tonight at 8.30 – are stitched together neatly with the music and material from diaries and letters to paint a fond and rosy picture with just a tinge of melancholy. Coward and Lawrence’s youth when they started in the business is the excuse for a rollicking Don’t Put Your Daughter on the Stage, Mrs Worthington, and Has Anybody Seen Our Ship? from Red Peppers, one of the 10 short plays that make up Tonight at 8.30, is cheerful, uplifting nonsense.

The show, however, leans more towards reflection. Parisian Pierrot, from the revue London Calling!, was written for Lawrence and is beautifully sung by Lucy Maunder, as are Sail Away and If Love Were All, which contains the phrase so often associated with Coward, “a talent to amuse”. It was much more than that, of course, although not necessarily recognised right away by the critical establishment. James Millar, as Coward, is given the lovely line that in the early days he was forced to accept “the bitter palliative of commercial success”. What a Noel-y thing to say.

Under Nancye Hayes’s light-touch direction Maunder is an enchanting Gertie, poised and soignee to just the right degree. Millar could find just a little more gloss for the Master but he has time, given the lengthy tour Noel and Gertie is about to embark on.

And just a few words on The Removalists …

THERE could be no greater contrast to Noel and Gertie than David Williamson’s The Removalists (1971), written in the playwright’s gritty early years (it was written in the same year as Don’s Party and the year after The Coming of Stork).

The Tamarama Rock Surfers production, directed by Leland Kean, is a beauty: tough, lean, as shocking today as it was four decades ago. Constable Ross (Sam O’Sullivan), fresh out of the academy, turns up for his first day of work to find he’s in a little suburban police outpost where if things are big, they need the attention of a bigger station, and if they are small, they’re probably too small to worry about.

Justin Stewart Cotta

Justin Stewart Cotta in The Removalists

The sergeant (Laurence Coy) is one of those incredibly passive-aggressive types who has the art of manipulation so well-honed it’s as natural as breathing. Or, in his case, as sitting down and deflecting work. Except when there might be a bit of advantage to be taken.

The Removalists is a NSW HSC drama text and the performance I attended was an early evening one for students. It was fascinating and heartening to see the group of mainly young men so attentive to the piece, and also taken aback by the casual sexism Williamson so deftly illuminates. I assume the students had already read the play so knew where it was all heading, but the way the Sarge patronised the women who had come for his help, made vile insinuations and put his hands everywhere had some in the audience literally gasping.

Terrific performances all round, by the way, with a special mention to Justin Stewart Cotta as Kenny, the over-bearing, boorish husband who knocks around his wife a bit and gets rather more back than anyone intended.

Noel and Gertie ends at Sydney’s Glen St Theatre on June 1. Then Joan Sutherland Performing Arts Centre, Penrith, June 5-6; Riverside Theatres, Parramatta, June 11-15; Frankston Arts Centre, Frankston, June 20; Whitehorse Centre, Nunawading, June 21-22; The Concourse, Chatswood, June 26-29; Queanbeyan Performing Arts Centre, Queanbeyan, July 2-7; Dubbo Regional Theatre, Dubbo, July 10; Orange Civic Theatre, Orange, July 12-13; Laycock Street Theatre, Gosford, July 16-18; Manning Entertainment Centre, Taree, July 20; The Space, Adelaide Festival Centre, Adelaide, July 23-27.

The Removalists ends June 15.