Cruel Intentions – the 90’s Musical

When you combine jaw-dropping performances from a brilliant Australian cast with fabulous production values, and a hit soundtrack from the Nineties, you are guaranteed a solid gold success…and that’s what Cruel Intentions -The 90’s Musical delivers. It’s an Australian premiere production and another of the new form of hybrid musicals aimed at a younger audience…an audience that has not been noted in the past for embracing the feast that is Musical Theatre. Now, I’m pleased to say, they are devouring it with even more appetite than the sexually driven characters on stage devour each other.

Based on the 1999 film, which in turn was based on the film Dangerous Liaisons (which in turn was based on the play set in the 18^th century …..well, you get the picture), the story concerns a bet between an amoral (at best) high school girl and her somewhat degenerate half brother to deflower a self-professed virgin new to the school. The moral values are beyond questionable, and the message is dark...when you do the right thing, you lose anyway!  It’s certainly indicative of some people in the nineties, and the story itself could leave a nasty taste in your mouth, though there’s enough oral sex for you to wonder where the nasty taste is coming from. It’s pure melodrama and you almost want to boo and hiss. But put that element aside and everything else is an absolute treat! You may not know all the nineties hits, but there’s sufficient music for everyone to recognise and, unlike some juke box musicals, here the song choices actually advance the story (as they should).

The cast is exemplary, proving once again that our performers are the equal of anyone, anywhere in the world.

Kirby Burgess continues to astound in everything she does. Whilst there is nothing to like about her character of Kathryn, you will LOVE her performance. She is a brittle, brutal bitch with a voice to die for and moves to hate, they’re just so damn good. Burgess never fails to deliver in any role, but this time she excels and owns the stage whenever she appears. And how does that huge voice come from such a tiny, but perfectly formed, creature? She’s a knockout.

But even she almost goes down for the count to the amazing Sarah Krndija, whose riotous comic skills as the dorky Cecile steal every scene she is in. I remember her work in Friends - the Musical Parody – and she’s even better here. What a talent. A great voice, terrific dancer and brilliant comedy timing. Her eclectic body of work so far also proves her versatility. I’d go to see anything she was in.

Drew Weston brings a wealth of experience to the role of the sleazy “villain” Sebastian. It’s a stretch to believe him as an eighteen year old high school senior, but he has the charisma – and the voice – to make you quickly forget all that.

It’s hard to believe that Kelsey Halge is making her professional debut as the virginal Annette, she is poised and self assured throughout and delivers a perfect rendition of Jewel’s “Foolish Games”.

Fem Belling’s powerful on-stage presence and great voice are sparingly but well used in the role of Mrs Caldwell, Cecile’s mother. A consummate performer she only has to open her mouth to prove the adage “there’s no such thing as a small part”. I just wish there had been more opportunity for her to sing.

The amazing Ross Chisari is always a delight to watch and he camps it up without being offensive as Blaine…one half of the unlikely secretively gay couple, with the very talented Joseph Spanti who also made his mark as an hilarious Joey in Friends – The Musical Parody. Together the two sing and dance up a storm and manage to be totally endearing throughout.

Rishab Kern gives a beautifully balanced performance as Ronald….but again, his great voice is underutilised.

The ensemble, small though it is, is brilliant. Freya List’s choreography is perfect, and perfectly realised by great dancers who can also sing up a storm.

Alister Smith’s direction is crisp and clever - every move has logical thinking behind it.

Craig Wilkinson’s Video Design is a triumph and James Brown’s Set Design complements it…or rather, they complement each other. This isn’t a huge show with massive special effects, but these two giants have made it seem that way and there were constant murmurs of delight from the audience.

Declan O’Neill proves once again why he is an award-winning lighting director. The lighting is stunning as is Greg Ginger’s audio design. Isaac Lummis’ costumes are subdued but as classy as always and Daniel Puckey’s Music Direction is the epitome of excellence as played by David Youings and a great band.

I rarely give out and out raves without qualification…and this time I have reservations about the show itself, NOT the production. But I’d rather focus for a moment on David Venn… the producer.

David Venn is a relative newcomer to Main Stage productions, and a welcome one. For too long professional Musical Theatre has been in limited production hands. We needed a new voice, a fresh approach, a different energy. He has cleverly filled a niche which other producers may not have bothered with, slightly offbeat musicals that might not otherwise find a stage here. His commitment to excellence is apparent in every production. (His The Wedding Singer was a triumph). He has assembled a team of like-minded talent, all committed to giving their best. There’s nothing jaded, or half-hearted – or even ordinary – about anything this production team does. What a delight to see a David Venn production….and long may it continue to be so.

Coral Drouyn

Photographer: Nicole Cleary