Bring It On: The Musical

How do you fill an upbeat, lightweight, frothy musical entertainment – one that is hampered by pedestrian plotting and an uneven score - with both tension and spectacle, so that it emerges a winner? By making the show about cheerleading, that most intellectually meaningless yet physically undeniable American institution.

Bring It On: The Musical delivers on its promise of gymnastic achievements that look exceedingly difficult and risky to attempt; the result is a presentation that lifts the spirits and sends you home smiling, thanks to its irrepressible energy and the sheer exhilaration of seeing talented young performers accomplish all the tricky tasks that are demanded of them.

As a piece of musical theatre, Bring it On demands to be seen live, not just because the visual component is so crucial but because the songs mostly fail to impress as compositions (Enjoy the Trip is a particularly dull and disappointing example). Fortunately, they are delivered by the cast – and the band - with the same exuberance that marks the performances and the cheering stunts; this results in a feel-good experience that overcomes any deficiencies to be found.

In addition, the ensemble dancing is accomplished and the vocal harmonizing is quite glorious. The level of success and satisfaction attained by this production – in spite of the text’s inherent limitations – is a reflection of Adam Goodburn’s exemplary efforts as director, not to mention the expertise of vocal MD (and hair/make-up stylist) Rosanne Hosking, band MD Martin Cheney, and choreographers Carla Papa & Chloe Boucher.

Set/video designer Craig Williams deserves special mention for brilliant use of animation to generate not only functional backdrops but also, at times, genuine poignancy. Williams’ creative deployment of school lockers on stage is quite ingenious, if at times slightly unwieldy.

Brad Sax has designed the lighting so that it will literally dazzle the audience, even to the point of blasting right in their eyes on occasion, but that approach fits in with the overall tenor of this show, and is certainly appropriate for a story that needs to evoke the atmosphere of an American sports stadium. Jamie Mensforth and Glenn Hill’s sound work provides all the sonic slam-bam that is required.

Leading the ensemble cast is the stunning Scarlett Anthony, playing the central role of Campbell with beaming radiance and complete confidence. She is matched by the striking and powerful presence of Stephanie Antonopoulos as Danielle. Sean Jackson delivers some pricelessly sassy moves playing La Cienega, and Georgia Cosercas is a bundle of fun as Bridget (the role will alternate being played by Billie Turner, who is unseen by this reviewer).

Producers Jen Frith & Kylie Green have not only pulled together a consummate creative team, they’ve also designed the excellent costumes. Hats off to them for delivering a show that is both fun and impressive, by any standards.

Anthony Vawser

Photographer: Jen Frith