And that belief was more than repaid as Hooper, backed by a cracking seven-piece band, delivered an evening of original songs from his album Here Today, Gone Tomorrow, along with jazz and musical theatre numbers documenting a colourful career onstage. That experience was immediately evident with an easy charm and stage presence that I found authentic and soothing. As he referred to, outside the world may be in chaos, but inside this theatre, on this night, there was a bubble where music and song reigned supreme.
There were glimpses of a personal narrative as songs were introduced with a sense of context in time and place in relation to Hooper’s career. Somewhere, a high school drama teacher’s ears will be burning in shame for rejecting our aspiring star. That early setback clearly stung but such things do provide motivation for future heights… and the original song How Much Do You Want It?
If anything, I would have liked to have spent a little more time hearing about such tales given the intimacy established between performer and audience. Interestingly, our host finds his artistic confidence increasingly an issue as he gets older but, on the evidence of this night, I suspect any doubts will hopefully have been assuaged.
Hooper has such a warm and expressive voice that it really was a delight to hear him sing everything from upbeat numbers to character driven musical tunes to crooning unrequited love songs. He slipped into character (and accent) so readily for Mister Cellophane from Chicago and If You Were Gay (Avenue Q) while relishing the bigger numbers such Don’t Rain On My Parade as he barnstormed his way to the end of the show and two encores. There was even time for a little cruise ship-style interlude with Can’t Take My Eyes Off You and So Many Stars.
In all this he was superbly supported and enhanced by a band displaying first rate musicianship. They were bold and brassy when the occasion called for it; laid back and chill in the quieter moments; and playful when bouncing off Hooper in character during musical theatre numbers. The highlight of the show for me was a perfect synthesis between singer and band in the original song Don’t Cry, Dragonfly which featured Hooper’s cousin Matt Smith on trumpet that made me feel like I was in a smoke-filled club at two in the morning sipping my fourth or fifth bourbon.
The band was comprised of Joshua James Webb on keyboard, Jack Duffy (drums), Lucy Browning (bass), Jarrad Van Dort (guitar), Smith on trumpet, Alex Parkinson (trombone), and Oliver Taylor on sax/reeds. Bravo to all.
In many ways an early highlight, I Believe, summed up the show. Funny, local lyrics had been substituted in but there was also clear (and deserved) snark over how the industry had been mugged by the pandemic response and how difficult it is to sustain a livelihood let alone a career. It is fortunate indeed that a performer of Hooper’s calibre can be lured back to Perth for shows such as this and Chicago. The slideshow of photos that played during intermission is testimony to the range of roles he has played. I suspect that presentation will continue to grow.
One final thought. Hooper observed that everyone on stage was a WAAPA graduate before recognising a doyen of that institution in David King who was present. It was a classy moment during a show full of talent and much charm. Alas, after it finished, I had to leave that glorious bubble and return to the chaos waiting outside…
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