LOVEBiTES

Many reasons made me love this LOVEBiTES, a brand new staging of an entertaining Off-Broadway style Australian musical.

It’s a bright, lively, neatly structured revue style musical, where several stories of that first flash of love / lust are introduced in a series musical sketches in act one, bookended by brisk encapsulating ensemble numbers, then developed in act 2, as we’re taken forward in time to a crunch moment in each relationship. Some relationships work; some don’t; some are tinged with sadness; others are filled with joy; still others are mostly silly fun. I’m reluctant to give away too much more, but there’s even a mini-musical with Sondheim references for the aficionados.

Small cast musicals about dating and relationships are nothing new, like Off-Broadway’s I Love You, You’re Perfect, Now Change, but LOVEBiTES lands with a genuine Australian voice.

It’s especially pleasing to see the lighter side of the creators of The Hatpin, Peter Rutherford and James Millar.

One great joy of the rise and rise of independent Sydney musical theatre is seeing talented triple threats emerge from the ensemble anonymity of commercial musicals and really strut their stuff.

Tyran Parke is widely admired by musical theatre audiences thanks to a considerable body of excellent work; he’s probably the best-known cast member of LOVEBiTES. Others, with talent to burn, truly deserve to be more widely known.

Perth audiences were recently fortunate enough to see Kirby Burgess take over the role of Rizzo in Grease, but only the occasional Sydney audience was lucky enough to see her take on the lead, as understudy, in an Officer and a Gentleman or Hairspray; similarly, covering the lead, Adèle Parkinson’s opportunities to step out in the pink as Elle in Legally Blonde were all too rare. Both get the chance to display star quality and range in abundance in LOVEBiTES.

Shaun Rennie reminds local audiences of his versatility in no uncertain terms after 18 months working in the UK.

Technical issues saw the cancellation of a preview on Wednesday night, yet, after just one preview, by Friday’s opening night the set’s twin revolves (supported by intelligent lighting from Ross Graham) were generally facilitating a pacy production (Troy Alexander’s first musical as a director), with minimal glitches, while the cast managed seemingly impossibly quick costume changes with aplomb.

Ellen Simpson’s choreography is snappy, and knowingly in on the joke as required. Becky-Dee Trevenen’s costumes frequently join in on the gag too, also supporting the production’s quick turnarounds by helping establish new characters promptly.

Jack McCutcheon’s sound mix generally establishes an excellent balance between the cast and Stephen Kreamer’s impressive four-piece band, located backstage; a first for the Hayes Theatre Co, if I’m not mistaken. After minor early uncertainties, not a word or note was lost.

The versatile LOVEBiTES company traverse comedy, pathos, humanity and downright screwball, across solos, duets and ensembles, in this enjoyable intimate evening of all-Australian musical theatre talent.

Yet another night of the special brand of entertainment Sydney has come to expect at the Hayes Theatre Co.

Neil Litchfield

Photographer: Pia Moore