All departments are on top of their game, from the wooden beams and crates of the main set design (Charlotte Meagher) that reminded me of a huge barn; to the eight-piece orchestra (MD Craig Dalton) that added so much to the pace and mood of the story. The music brings an authenticity of time and place, reinforced by the period costuming of Nicole Denholm. It's a handsome production with the lighting design (Shannon O’Neill) creating additional locations, notably the riverside. Kudos to sound designer Dale Kerrison, especially during a critical reveal in the second half.
There are joyous moments aplenty as the orchestra ups the tempo and choreographer Jayne Smeulders has the cast kick up their heels in such numbers as 'Another Round'. But Director Adam Mitchell also brings plenty of dramatic chops to the darker elements; one set on a train that actually had my jaw drop as a terrible act unfolds.
Then there’s the cast. It’s always a joy to see a new cohort for the first time and there are plenty of bright stars amongst this group. The vocal talent of the principals is outstanding with all of them embracing the southern twang but I was particularly impressed with Brittany Carter as the older, officious Alice Murphy; Madeleine Betts as the younger, more playful Alice; Sarah Monteau as the lovelorn Margo; and Campbell Parsons who has a voice dipped in molasses and was superb as Jimmy Ray. Betts and Parsons, one of the key couples, have excellent chemistry with ‘What Could Be Better’ a highlight, followed soon after by Betts unleashing a powerhouse vocal performance in the gripping ‘Please, Don’t Take Him’. Mentions also to Jackson Britza as the earnest writer Billy Cane freshly returned from war and Hayley Parnaby who provides comic relief and pizzaz as Lucy Grant.
While I’d expect the singing to be good (here it’s fantastic), it’s the quality of the acting that surprised me. The nature of the story means there’s nowhere to hide with the emotional stakes involved and the cast handles those aspects well. There’s a quiet moment, for example, where Carter’s Alice lies to her father (Anthony Garcia) to spare him further pain which is beautifully handled.
The musical wraps up perhaps a little too neatly but I left the Roundhouse Theatre with only one word on my mind – wow!
