Hands On A Hardbody

Hands on a Hardbody

Hands On A Hardbody Rating

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5

It’s always a pleasure when theatre companies step away from big-name shows to bring local audiences more unique (and often fantastic) shows. Limelight Theatre is the latest in this endeavour – giving Hands On A Hardbody an exceptional Australian debut with excellent production values.

Based on the 1997 documentary of the same name, Hands On A Hardbody is the unexpectedly heartwarming story of competitors vying to win a pick-up truck by being the last person to keep their hands on the vehicle.

Spanning over nearly four days, we meet a pool of characters and learn why they’ve come to take part in the competition and how the win would change their lives. The hardbody in question is a thoughtfully designed piece that anchors the show, offering actors versatility in their abilities to interact with it and each other.

Designed by Mal Anderson, the rest of the set is equally impressive. It helps to bring the ageing car dealership to life, with a lack of side stage curtains creating an outdoor feel to the auditorium. Effective lighting and sound design add to the ambience while assisting in showing the passing of time.

A strong ensemble cast—Breeahn Carter is simply captivating as Heather Stovall, with great spunk and confidence, while Lukas Perez brings an infectious energy to Norma Valverde. Phil Bedworth gives great depth to previous champion Benny Perkins, and Rodrigo Goncalves de Azevado is compelling as Jesus Pena.

Helen Carey and Brad Beckett are utterly endearing, as are Janis and Don Curtis, and are well-balanced in the tense relationship of J.D. Drew and his wife Virginia (Chris McCafferty and Gillian Binks).

Amber Wilson leads the competition as Cindy Barnes, who is the perfect balance of sweet and stern against Ben Mullings’ slimy Mike Ferris. Jacob Anderson is a ball of energy as radio host Frank Nugent. The cast is rounded out by a small ensemble and brief appearances from the competition’s early bow-outs, including a crowd-pleasing Christian Dichiera.

Vocally, audiences are treated to a suite of talent, with slick ensemble singing and harmony work under Sean Davis’s leadership. However, occasional imbalances in sound mixing left soloists momentarily overpowered by the chorus.

Individual stand-outs include Brittany Isaia and Joshua Hollander’s ‘I’m Gone’ – showing off the pair’s palpable chemistry and lovely vocal tone. Riley Merigan also displays his powerful vocal chops in ‘Stronger.’

With performers limited in their movements to stay in the competition, Jane Anderson’s choreography is to be commended – thinking outside the box to create engaging numbers with ‘Joy of the Lord’ a particular high point.

Co-directors David Nelson and Jane Anderson have put together a fun-filled, cohesive production deserving of full-house crowds. It’s a definite recommendation to anyone into a ‘human drama kind of thing.’

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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Pygmalion – The Original My Fair Lady

Pygmalion

Pygmalion Rating

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4

Garrick Theatre’s latest production of George Bernard Shaw’s classic play Pygmalion opened last night to great anticipation. While most are familiar with the story through the film My Fair Lady and its countless adaptations, Pygmalion is the original source, encapsulating Shaw’s true intentions.

First premiered in Vienna in 1913, Pygmalion is a romantic comedy about Professor Henry Higgins, an English gentleman who bets he can transform Eliza Doolittle, a scruffy Cockney flower girl, into a proper lady.

As the curtains rose, the audience was transported to Old Covent Garden in London, with excellent lighting effects by Technical Director Geoff Holt, creating a marvellous ambience of an English rainy day.

The cast delivered strong performances throughout the play. Peter Clark excelled as Professor Henry Higgins, portraying the character’s likable-unlikable intellectualism. His blunt honesty and unawareness of the impact of his words on others, coupled with the absence of ill intent, brought depth to the role. Stuart Ridgway’s Colonel Pickering was like a trusted uncle, embodying the Professor’s gentlemanly confidant. Ridgway’s portrayal of Pickering’s paternal relationship with Eliza, helping her gain self-respect alongside phonetics, was heartfelt and genuine. Catherine Leeson’s Eliza Doolittle adeptly showcased the character’s evolution, with her comedic moments peaking in the middle of the play. Her portrayal captured Eliza’s transformation with authenticity and charm.

The supporting cast also shone brightly. Adam Skellham played Alfred Doolittle, Eliza’s scheming father, transitioning from a dustman to the epitome of middle-class morality. Sorcha Leary and Janice Phillips, respectively played Clara and Mrs. Eynsford Hill, depicted the petulant and idle rich with flashes of charm. Marsha Holt, as Mrs. Higgins, consistently put her son, the Professor, in his place, adding a much-needed mature counterbalance to her son’s sometimes haphazard approach to life. James Skellham’s Freddy was convincingly bumbling and infatuated with Eliza, while Allyson Corti’s Mrs. Pearce provided a grounded perspective on the implications of Higgins’ bet. Special mention to Juliette Hyland as the Parlour Maid, whose small role brought subtle yet appreciated comedic relief.

The Set Designer and Director Fred Petersen ingeniously crafted the set, with detailed transitions between scenes from Covent Garden to Higgins’ Laboratory and Mrs. Higgins’ Flat. His meticulous planning was evident and greatly enhanced the production. The choice of classic piano music between scene changes enriched the overall atmosphere, and the period-appropriate wardrobe, especially for the ladies, added a delightful authenticity.

As for the play’s ending? While many adaptations exist, this production offers the unique opportunity to experience Shaw’s original narrative as he intended.

The Garrick Theatre’s cast and crew have created a memorable and faithful rendition of this timeless play. Don’t miss the chance to return to Old Victorian London and enjoy this classic tale.

Pygmalion runs from June 6 to 22.

Performance Dates:
June 6, 7, 8, 9*, 13, 14, 15*, 15eve, 16*, 20, 21, 22
All evening shows at 7:30 PM.
*Matinees at 2 PM.

Bookings: TAZtix or call (08) 9255 3336.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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