Into this potent brew add an excellent group of performers, from the leads to every member of the ensemble; the type of high energy choreography that will knock your bobby socks off; a set that glides and slides into place with Mecano-like precision; a band that will have you tapping your feet to guitar driven classics; and a visual style through lighting and costume design that will make you wonder if you’re in an episode of Happy Days. You get the strong sense that first-time director Vincent Hooper, in an auspicious debut, has been given free rein to deliver a rousing, feel-good musical which was met with thunderous applause as the cast took their bows.
Hooper's put together a murderer's row of creative and performing talent starting with Set Designer Bryan Woltjen, fresh off his stunning work on Footloose, creating another striking set. This time it's a remarkable array of double-sided flats that depict a small town where most of the action takes place in Act One; followed by an interlocking set of stairs that form the centrepiece of the disused fairgrounds in Act Two, augmented by rear screen projections of the various attractions. The cast and crew move these into place in seamless transitions where Hooper smartly uses other performers to distract the audience's eye.
Woltjen's work is complemented by Lighting Designer Lucy Birkinshaw who provides colourful backdrops and sets a bright and breezy tone as she highlights the cast especially in the big dance numbers such as C'mon Everybody. The tone is apparent straight away as the show bolts out of the gate with Jailhouse Rock and it's clear the audience is in for a rollicking good time. In this, Choreographer Thern Reynolds plays no small part. Yes, there are the iconic hip swivels and pelvic thrusts along with high energy dance routines that cement the sense of time and place. And most of all, fun. There's nothing like a large cast sinking their teeth into a big dance number as they sing an iconic song like Heartbreak Hotel or tear up the stage with closer Burning Love.
Musical Director Harry Oliff marshals a rocking twelve piece orchestra that has the pleasure of drawing on Presley's extensive catalogue of songs, most of them stone cold classics from the early days of rock and roll. Given this, the guitar work of Rick Webster, Jarrad Van Dort and Paul Pooley (bass) and drumming of Daniel Susnjar is prominent, though the big sound appropriate for an artist of Presley's reputation is enhanced by a selection of woodwind and brass instruments. Sound Designer Sam Goodsell ensures the balance is spot on between orchestra and performers with songs and dialogue clean and crisp. Costume Designer Nicole Marrington nails the period with the male Greaser look, and vibrant outfits for the female cast.
And what a cast it is!
John Berry does well in what is a tricky role as the stranger who rides into town, not with a six shooter but a six string and a broken down motor cycle. Not only does Berry have to capture the spirit and vocal stylings of Elvis, no small feat, but his roustabout character Chad has to be cool, a little dangerous, a little goofy when he falls head over heels in love, then change up when his he accepts an unexpected new love. He looks the part and has that certain strut but it's the poignant ballad I Don't Want To that is a highlight, though the vulnerability and confusion is undercut by a few, perhaps unnecessary, comedic flourishes.
Tate Bennett has carved out a niche as the comic foil in musicals and there's no doubt he does that well here again. What impressed me though is that Bennett imbues his oft neglected Dennis with a sensitivity that is reflected in his singing and acting, making him the moral compass of the story. His rendition of It Hurts Me was moving and heartfelt as an early highlight of Act Two.
Then there's Paula Parore as Sylvia who has a stupendous voice, which she wields to devastating effect, and a commanding stage presence. She quickly becomes an audience favourite and is utterly riveting every time Sylvia makes an appearance. Fair to say she knocks There's Always Me out of the park and then some. Parore more than holds her own against that doyen of the local musical theatre scene, Brendan Hanson, who brings the charm as the widower Jim who finds his second wind.
Josh Firman and Jade Baynes make for a lovely couple fighting against parental and societal prejudice with It's Now Or Never a beautifully sung and brilliantly staged number in Act One. Emma Haines gets to play the female object of desire, Miss Sandra, initially as aloof, then increasingly besotted as she's wowed by Ed and has a great moment with Let Yourself Go in a gorgeously costumed sequence on a fabulously presented museum set.
Other highlights - the Act One closer Can't Help Falling In Love builds to a crescendo that showcases the breadth of singing talent on hand. Taneel Van Zyl (Mayor Matilda Hyde, no relation) and the ensemble had me wondering if I was watching an excerpt from The Sound of Music on acid with a kookily playful (You're The) Devil In Disguise; Clay Darius' Sheriff Earl's surprise contribution; and the closing numbers as we careen towards a happy ending for most of our characters.
Indeed, remarkably for an opening night, the entire second act totally works without a hitch from the title number to final bows. The whole company seemed locked in and everything just clicked. Wonderful to see and there was much jubilation as the cast waltzed off stage at the end.
This is a high-quality, crowd-pleasing production, full to the brim of exciting local talent and is highly recommended. Playing at the Crown Theatre until Sunday 23 July.
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