Disney Freaky Friday

Americans seem keen these days on adapting successful films (or film adaptations) into musicals with varying degrees of success. And this one has had a book, three film adaptations and now a musical – an interesting pedigree.

It is the unlikely – but fun – story of a mother and rebellious teenage daughter who magically swap bodies and have precisely one day to put things right – and work each other out – before Mum’s wedding day.

It began as a 1972 novel of the same name by Mary Rodgers – daughter of Broadway musical legend Richard Rodgers, and herself the writer of the musical Once Upon a Mattress, which made a Broadway star out of Carol Burnett back in 1959. Disney made the first film version in 1976 (one which I remember well) with Barbara Harris and Jodie Foster, and since then there have two more versions: in 1995 – with Shelley Long and Gaby Hoffmann and the 2003 version with Jamie Lee Curtis and Lindsay Lohan.

While the musical has to date never been produced on Broadway, it reached US regional stages in 2016 with Disney presenting a short film version two years later.

The musical is not the most memorable in the world in terms of its music – which it has to be said is suitably logical for the plot - as there are no real show-stopping numbers, but that is not what this musical is all about.

What it is about is a golden opportunity for two lead actresses to shine in a comic outing which this production delivers in terms of comedy, energy, comic timing and delivery. And this is where the strength of this performance lies. It is difficult to imagine this – or any other - production of this working without a certain sparkle delivered by these two roles.

In a role far removed from the relative sweet blandness of her recent outing as Kathy Sheldon in Singin’ in the Rain, Stephanie Dick plays the mother, Katharine. Here there was not only a complete understanding of the role, but also a positive confidence in what she was doing. Not only did it give her a chance to show what she could do with her splendid set of pipes, but she attacked with role with punch and verve, and an exactitude that was pleasing to see.

Matching her every step of the way was Lara Stewart as her daughter, Ellie.  Particularly effective in the scenes when she was channelling her mother (as Stephanie Dick was in the scenes channelling her daughter), she also displayed a stage presence, confidence and understanding that was utterly convincing. The two were well-matched and the performances were made all the more convincing with some interesting detail and mutual observation of each other.

They were under the watchful eye of first-time director Judy Higgins-Olsen, who has clearly brought her vast acting experience in similar musical theatre vehicles such as Big, The Best Little Whorehouse in Texas and Legally Blonde into play. There was a discernible fun energy from the moment the lights went up at the beginning and it did not flag throughout the performance.

There was great energy from the supporting cast including Benjamin Henderson as Adam and Amaya Lejarraga as Savannah, but of particular outstanding note was Daniel O’Brien as Ellie’s younger brother, Fletcher. It is often said acting is not about “acting” but “reacting”, and this was particularly true of this performance, most notably in the “Parents Lie” song in Act One, where his emotional reaction was not only visible but totally credible. A fine performance from this young actor.

While this is not the greatest musical ever written, it is no doubt an ideal choice for Townsville Choral Society who a few years ago took the decision to stage “small” musicals in the society’s hall. Not only does it give new directors a chance to with a less expensive (and risky) small production before moving on to the responsibility of productions staged at the Townsville Civic Theatre, but also gives actors a chance to flex their musical muscles. It would be interesting to see the society tackle some of the less contemporary intimate musicals which still have an affectionate place in the annals of musical theatre history.

A harmless evening out with fun moments. A universally relatable situation to teens and parents alike. Good family diversionary fun.

Trevor Keeling

Photographer: Sonia Warrell