The Boy from Oz

This beloved musical has been delighting audiences since the late nineties with the life-story of Peter Allen. The show cleverly intertwines Allen’s most biographical songs into the tale of how a young man from rural New South Wales rose to international fame. It’s a fascinating journey through his determination, loves, losses and triumphs, whether you’re a fan of Allen or you’ve never heard a note of his catchy songs before.

This ambitious production sees a substantial cast of triple-threats, dancers and musicians come together under the direction of Miranda Selwood. Selwood’s directorial interpretation is very much aiming for professional musical standards. Her work is well-supported by that of Musical Director Benjamin Tubb-Hearne. The songs are a major star of the show and Tubb-Hearne has the orchestra and singers working well to support each other; they rarely hit a bum note. There’s a lovely, period-appropriate, Fosse style of choreography by Renee Allotta-Charman throughout the show. Dancers are all tight and as an ensemble, none are seeking to outshine each other, but instead they’re working as a cohesive unit.

Shannon Foley works tirelessly as Peter Allen. It’s a gruelling and demanding role. Aside from occasionally pacing to cover-up from taking a moment to remember his next line, Foley is focussed and dedicated to inhabiting the part. He does a good job of emulating the physical style of Allen, while when singing, retaining more of his own vocal style, rather than seeking to exactly emulate Allen’s voice.

Aiden Huntley is quite charming as Young Peter. Huntley is flawless in his singing and tap dancing and has a lovely stage presence. Vanessa Wainwright makes a great effort to emulate Judy Garland in voice and mannerism and belts out those big notes with confidence. There’s a beautiful, gentle realism to the way Luke Devine plays Allen’s greatest love Greg Connell. Devine should also be commended for his accent-work.

Charlotte Keen’s set design is clever and flexible. The many pieces are quickly and easily moved into place to represent a wide variety of locations from Tenterfield to Hong Kong and New York. The show also boasts some outstanding costume design by Kim Heslewood and team, making for a visually fun experience.

Naturally, the show keeps the audience waiting until after interval to hear the big hit numbers such as “Arthur’s Theme”, “I Honestly Love You”, “I Still Call Australia Home”, “Don’t Cry Out Loud”, “Tenterfield Saddler” and crowd-favourite “I Go to Rio”. While there are poignant moments that may bring a tear to some eyes, this is ultimately an uplifting show that can be enjoyed by a range of audiences.  

Kiesten McCauley 

Photographer: Mark Duffus