It’s 1942 and the Palm Beach Ladies for Unity – or P.B.L.F.U. – are running a show to support the war effort. Headlining is starlet Claudia McFadden (played by Jen Demeza), known for her quick temper and tendency to throw bellhops out of four-storey windows. Unfortunately for McFadden, Athena Sinclair (played by Margaret Costantine) is also on the bill – known for her flirtatious nature, her countless ex-husbands, and being McFadden’s archrival. However, disaster strikes when the two starlets are assigned to the same hotel suite, and a beautiful dance of avoidance and misdirection ensues, as all parties try to ensure Sinclair and McFadden never see each other.
The show delightfully builds to the moment of dread when the two cabaret queens finally clash, teasing the audience with every near miss. The multiple doors on stage (crafted by Patrick Watson) allowed for some great comedic moments, particularly with the constant comings and goings of the players.
This show’s ensemble cast worked together seamlessly, each creating their own individual disasters that coalesce into one glorious mess by the finale. Jen Demeza as Claudia McFadden upholds a classic Hollywood air akin to Grace Kelly, though she does not shy away from the starlet’s grouchier moments. Margaret Constantine as Athena Sinclair was deliciously devilish, prompting an audible gasp from the audience upon her first entrance in a glimmery, sequined gown. James Fraser’s Mr Dunlap was a strong pillar of the show, juggling several crises at once, while keeping (or, trying to keep) a calm visage. Chris Johnson was fantastic as McFadden’s assistant, Pippet, sharing great chemistry with Fraser and Demeza in particular.
Amy McDonnell was sweetly stressed as Sinclair’s assistant Murphy, demonstrating the strongest American accent out of the cast. James Manson, as bellhop Francis, also had great chemistry with McDonnell, prompting a cheer from the audience during one of their shared scenes. Manson was also a good contrast to Darragh Browne’s Otis, who bumbled and fawned over the starlets with such earnestness, and provided two of the show’s biggest laughs. Despite the occasional need for prompting, Denise Mignon and Rosanna Baccala were surprising comedic additions as nosy reporter Dora Del Rio and P.B.L.F.U. chairwoman Mrs Osgood, providing unique physical and musical comedy.
While the show opens with some big-band jazz, it would’ve been great to have some playing pre-show, to set the tone and immerse the audience further. I thought some of the dialogue could’ve been a bit faster paced, but the energy was high and consistent nonetheless. I also hoped for some more variety in blocking, particularly in scenes with more than two characters as it had the tendency to become quite static at times.
It is clear that Suite Surrender has been made with love, dedication and detail. The set (by Patrick Watson) has been fitted with multiple doors, room for a piano, and a built-in robe, and is decorated with Van Gogh paintings, a gold bar cart, and a classic American flag. There has evidently been a great deal of research into the costuming (by Linda Thompson), hairstyles and makeup (by Penny Chambers) of the 40s, and it certainly pays off. Each player looks stunning in their costumes, with some great contrasting colours and textures contributing to the characters’ conflicts.
For a genre that is often overlooked in the modern day, farce is Endeavour Theatre’s specialty, and Suite Surrender proves this beyond a doubt. If you enjoy classic comedic theatre featuring too many doors, a tiny dog, and an absurd amount of long-stemmed white roses, check in to the Palm Beach Royale Hotel and stay a while.
To book tickets to Suite Surrender, please visit https://www.endeavourtheatre.org.au/.
