Cruel Intentions The ‘90s Musical

It is ‘risky business’ to try and transfer an iconic film to the musical stage - so many things can go wrong. Fortunately, they didn’t. Cruel Intentions The ‘90s Musical is a clever reinvention, or, as producer David Venn says, “a love letter to the film”. It brings us all the sex, manipulation and intrigue that made the film a must see.

While the subject matter remains in the 90s, the set is state of the art thanks to James Browne’s set design, Craig Wilkinson’s video imagery and Declan O’Neill’s lighting design. Six large set pieces resembling two-storey walls, highlighted with projections of images and words, add dimension to the action on the stage. With the addition of a 2.5-seater couch and two chairs, these six large walls are the only set elements in the show, moving into different configurations representing the shift between scenes.

The four-piece band, led by musical director Daniel Puckey, situated elevated at the back of the stage, pump out hit after hit (particularly in Act 2). They rarely rest throughout the show, subtly underscoring the dialogue.

A musical bonus at the end of Act 1 is the Finale, which is played in a ‘Les Misérables’ stand and deliver style, serving to drive the act to its conclusion and leave the audience wanting more.

Director Alister Smith moulds his cast into representations from the film without being slavish copies and keeps the blocking simple to allow the lyrics speak. He nicely balances the style required for what is at times almost melodrama with realism, particularly in the intimacy scenes coached by Amy Carter, who must have been very busy as there are some challenging sexual moments throughout the production.

Freya List’s choreography, as well as showcasing the cast’s talents builds the notion of there always being someone watching you in the shadows. Her boy dance moves for ‘Bye, Bye, Bye’, danced by Euan Fistrovic Doidge and Joseph Spanti, are masterful.

The plot of Cruel Intentions The ‘90s Musical is somewhat convoluted, but involves the coke-snorting Kathryn making a bet with her stepbrother Sebastian to sleep with the new headmaster's daughter Annette, who is outspokenly “saving herself”. Though some of the elements of the production belong to the ‘90s, this manipulative game is timeless.

As the cruel step-siblings Kathryn and Sebastian, Kirby Burgess and Drew Western sizzle both in the acting and vocal stakes. The chemistry between them is palpable and they are totally believable, particularly as their lives unravel in Act 2. Highlights include ‘Kathryn’s Turn’ (a tour de force for a vocalist) and ‘Iris’.

Kelsey Halge plays Annette Hargrove with sincerity; the total antithesis of Kathryn and Sebastian. In pastel pink she unknowingly manipulates Sebastian, causing his downfall. Her ‘Foolish Games’ is a crowd pleaser.

Francine Cain’s Cecile is childish, naive, spoiled and sexually inexperienced, making her an easy target for Sebastian. Her number ‘Kiss Me’ with Kathryn is an ebullient joy.

Blaine Tuttle and Greg McConnell are played to perfection by Euan Fistrovic Doidge and Joseph Spanti.  While they are seemingly the ‘comedy relief’ in a world of conspiracy, they are so much more! Their private same sex relationship is perceptively played, making their numbers ‘Sex and Candy’ and ‘Bye, Bye, Bye’ even more enjoyable.

Rishab Kern’s Ronald Clifford is nicely innocent and vulnerable as Cecile’s cello teacher. Along with Fem Belling as Mrs. Caldwell, he shines in ‘No Scrubs’.

Fem Belling’s Mrs Caldwell is the ‘dark horse’ of the musical. She lights up every scene she is part of and nails every laugh line without overshadowing other actors’ performances. Belling takes the idiosyncrasies of the entitled mother to another level making ‘Man, I Feel Like a Woman’ a show stopper!

The principal cast are capably supported by Sheridan Adams, Darcey Eagle, Etuate Lutui, Daniel Erbacher and Morgan Heynes. As well as portraying minor roles, they fill the stage with movement and vocal atmosphere adding to the whole performance.

Cruel Intentions The ‘90s Musical is ‘as camp as a row of tents’ and this fits the genre perfectly. Aimed at the 20s and 30s, it is a show that is sure to leave you with a smile and perhaps a few things to think about in your private life!

Barry Hill

Photographer: Nicole Cleary