Around the World in 80 Days

It’s 145 years since Jules Verne wrote about Phileas Fogg and his adventures and he couldn’t possibly have imagined that it would be become 2 major movies, a TV mini-series (he probably couldn’t have imagined movies or television!) as well as several stage productions.

The plot hinges on Fogg making a bet at his club that he can travel around the world in eighty days – but is he in fact a fugitive trying to get away from the indefatigable Scotland Yard Detective Inspector Fix?

In this version (adapted by Toby Hulse) Director Terence O’Connell directs a multi-talented cast of only three through a theatrical romp which exceeds Hulse’s dreary script (which itself fails to capitalise on any of the magic of Verne’s novel). Hulse writes mainly for schools and/or family audiences and there’s nothing wrong with that, but when such things as the denouement that Fogg is innocent of robbery and murder is thrown away in a single line without explanation or follow through, you have to wonder how good this might be with a really excellent script. One can understand there being no hot air balloon (budget and production restrictions), but there is a facility for AV…and it is used to advantage with the ticking clock. It’s just a pity there isn’t a full-scale balloon image projected for the final, clever scene of them flying away.

Nevertheless, O’Connell and his cast pull out all the stops to maximise the entertainment value for the whole family and they certainly succeeded at the Gold Coast’s Home Of The Arts. It’s all a rather silly romp and won’t stretch your intelligence, but it’s a great way to introduce your children to live theatre and rediscover your inner child in the process.

The three excellent cast members are Michael Lindner, Suzie Molloy, and Nat Jobe. Lindner is stuck mostly in the underwritten role of Fogg, but is suitably hilarious when he has the chance to break out in character vignettes. I know Suzie Molloy as a very glamorous dancer and music theatre actress, so it was a delight to see her play a range of male characters, complete with cockney (French) accent. If I have a qualm, it’s that Suzie is a gorgeous statuesque girl playing a tiny weedy bloke (remember Cantinflas in the movie and even the diminutive Pia Miranda in the 2016 stage production in Melbourne?). Physicality aside, Suzie brings great appeal and stage presence to multiple roles.

But the star of the night (after all he has multiple roles) is the wonderfully physical Nat Jobe. He inhabits Fix like a second skin but is hysterically funny as the Indian Princess and in other cameo roles.

Jason Bovaird’s original fabulous lighting plot has been modified for the tour by Tom Willis, and some aspects are sadly missed. It’s a great pity there is no proper strobe for the moments it is required, and lighting effects are limited elsewhere. Merinda Backway’s set continues to impress - especially the elephant, and Dave Ellis’ soundscape is evocative. It is a pity though that Lucy Wilkins (costumes) didn’t have extra money in the budget to fit this Phileas with a frock coat in his size. That doesn’t excuse the very creased trousers (touring Stage Manager - where is your iron?) which destroy the image of Fogg as a sartorial gentleman of means.

Small niggles aside, thank goodness for Producers like Christine Harris and Helen Ellis, who are ensuring that audiences in “the provinces” and country towns in particular, have access to professional theatre. Treat your inner kid to a night out of pure entertainment.

Coral Drouyn

Photos by Vicki Heilbronn.