The Boy from Oz

As one of our most beloved home-grown musicals, any production of The Boy from Oz automatically invites comparisons with the original production with Todd McKenney, the hacked-script New York version starring Hugh Jackman, and of course with Peter Allen himself. A local amateur company could not be expected to have the sheer breadth of talent of the 1990s original, or the sheer breadth of cash of the Broadway do-over.  What Free Rain have pulled off here is fun, poignant and full of verve, capturing the vibrance and resilience of Peter Allen himself. Most importantly, it has an emotional depth without which the show could have lapsed into schmaltz.

This depth is driven by the performance of Jared Newall as Peter Allen. Newall’s Peter is relentlessly ebullient onstage, while being thoughtful and almost shy in his personal life. He brings the character a vulnerability as he struggles with his self-identity and sexuality. Newall’s voice is more full and warmer than Peter Allen’s and he doesn’t have Allen’s dance skills, but his performance does something more important, which is to portray Allen as a fleshed-out character. This was the first time I’d truly listened to the lyrics of Tenterfield Saddler closely enough to hear the longing and loss in them.

Peter Allen’s tendency to channel his emotions through song is what elevates The Boy from Oz above most jukebox musicals. He valued emotional authenticity in music, and his lyrics were the most naked expression of how he felt and were often autobiographical. This meant he left a body of work that could be naturally mapped onto his life events without awkward shoehorning of songs into situations they don’t quite fit. His unapologetic sentimentality sometimes came across as mawkish but hearing the lyrics in context showed how strong they actually are due in large part to the deft hand of director Kristy Griffin. Collum Tollhurst-Close’s fabulous musical direction (using a compact 11-piece orchestra) combines with the choreography by James Tollhurst-Close and (director) Kristy Griffin combine to bring plenty of pizzaz, showing off the athleticism of some brilliant dancers while seamlessly accommodating those with lower skill levels to make everyone on stage look great.

The supporting cast also brought nuance to their characters. Meaghan Stewart’s aging, alcoholic and damaged Judy Garland was great, but she might need to temper her natural comic sensibility which is tipping her occasionally into caricature. Stephanie Bailey shone as Liza Minnelli, and Janie Lawson had that earthy, country Australian warmth as Peter’s mother and greatest fan Marion Woolnough. Young Mitchell Clement sang and tapped wonderfully as 9-year-old Peter. There were a few places where notes went awry or costumes slipped, but everyone powered on like troopers.

Free-Rain’s The Boy from Oz is uplifting, moving and a riot. What more could you ask for?

Cathy Bannister

Buy the Script here.