Reviewed by Cody Fullbrook
Opening at The Dolphin Theatre of the UWA University Campus, The Gilbert & Sullivan Society of Western Australia presents Kiss Me, Kate, a charming musical with music by Cole Porter and Book by Sam & Bella Spewack.
Kiss Me, Kate starts and stays on a consistent quality, with the opening number “Another Op’nin’, Another Show” flooding the stage with the colourful cast, so much so that the choreography was noticeably, and understandably, constrained, lest a wide arm swing cleave a neighboring dancers head off.
But, when given the space, the choreography truly shines, including jumping heel clicks, waist lifts, and even a full tap dance number. Ensemble members, even when sequestered into the background, were always in character, and the overall production had a professional quality you don’t always see in community theatre.
Kiss Me, Kate is a show about a show, with actors portraying actors. Fred Graham, played by Ian Lawrence is starring alongside his ex-wife, Lilli, portrayed by Hayley Parker, who portrays the titular Katherine, in a musical adaptation of The Taming of the Shrew. Whether it’s actually a musical adaptation or simply had non-diegetic musical numbers shoehorned in to “fit” with the rest of the musical is up for interpretation.
Lawrence portrays Fred Graham with a calm confidence, though was far too stolid for someone being threatened by gangsters and an erratic co-star/ex-wife. The singing from Lawrence, and the entire cast, is clear and easily heard over the live orchestra.
Wafting in and out of scenes are First Gangster and Second Gangster, played by Samuel Farr and Tracey Myhill. Farr steals every scene he’s in, adopting an infectious, classic, New York gangster voice, but is ultimately weighed down by his co-star Myhill who, not only had the wrong accent and gender for the role, but made the only two line flubs in an otherwise flawlessly delivered show.
Their charming Act 2 song, “Brush Up Your Shakespeare”, was one of two songs that contained multiple false endings, quickly resetting to a clearly delighted audience. The second, “Always True To Your Fashion”, a boppy tune in the middle of Act 2, received three rounds of applause, inadvertently, yet deservedly, making it the highlight of the entire performance.
Special mention must be given to Calen Simpson, the star of the aforementioned tap dance number, who glides through his role as Bill with light feet and a smile.
Though, the stand out performers are the two female leads, Taylor Westland as Lois Lane and Hayley Parker as Lilli. It is Westland who truly starts the story, with song 2 of Act 1, “Why Can’t You Behave?”, producing a sonorous vibrato that cements the high quality of the production, qualified again, 6 songs later, with Parker’s powerful rendition of “I Hate Men”, armed only with her powerful, glass shattering, voice, and a chair.
In fact, the blocking, despite being very minimal, is surprisingly satisfactory, with only a few brief moments of characters pacing contemplatively. Two rectangular pillars were spun to unveil brick walls, street doors, and room interiors, allowing tables, lounges, clothes racks, and pay phone props to seamlessly blend together.
Kiss Me, Kate contains all the charm you’d want from a 40’s musical. Even with dialogue and comedy being far too dry for younger audiences, twirling dresses and lively dances makes it a night of joyous entertainment from start to finish.
Image Supplied
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