Dogfight

In order to survive, community theatres must continuously stage productions which appeal to the largest possible demographic. Spotlight Theatre is no different to anyone else in this regard, as witnessed by the phenomenal success of their first production of the year The Sound of Music, which had a sold-out season plus extra performances.

Their second musical of the year is no less impressive but far more obscure to the General Public – and I was disappointed to see even a few empty seats on opening night, presumably because the show isn’t as well-known as most of Spotlight’s choices. But that will change once people hear how great the show is, so book while you still can.

Adapted from the film of the same name, Dogfight tells the story of a bunch of young marines on their last night in town before shipping out to active service in Vietnam. Their bravado covers a host of fears and insecurities as they face an uncertain future. Loaded with Machismo and URST (unrequited sexual tension) they embark upon a challenge (winner takes all) to see who can pick up the ugliest date – the “Dog” in the title.

From this distasteful sexist storyline comes a beautiful mellifluous score that equals Sondheim in places…with songs that will touch you deeply, endearing characters facing a moral dilemma, and a quirky love story which will leave you feeling that anything is possible.

It’s a small but perfect show with a highly complex score and in this production Musical Director Julie Whiting handles both the small (but perfect) band and the intricate vocal arrangements with her usual style and excellence.  The small band, made up of piano, basses, guitars, cello and violin, gives a pop air to an almost classical string quartet and the musicians are superb. Plus, the show has some of the best vocal harmonies that you will hear on any stage anywhere. The voices meld beautifully and some of the ensemble vocals will give you goosebumps.

Director Josh McCann Thomson has a clear affinity for subject matter and the music. His casting is exemplary throughout and his set design, incorporating a revolve to give a peripatetic sense of movement adds a marvelous sense of fluidity. And the cast are astonishingly good throughout, with the two lovers in the story giving exceptional performances.

Brodie Seignior gives us a clearly defined three-dimensional character in Eddie Birdlace, the young marine who grapples with his conscience and his feelings of fear and inadequacy. He has a gorgeous lyrical tenor voice, and an endearing stage presence, which makes him the complete package, worthy of any stage. It’s a lovely and totally credible performance.

Laila Chequer de Souza is so good as Rose, the somewhat plain and dumpy waitress that Eddie targets, that we almost forget that this is a Community Theatre production, and not some theatre off Broadway. She is truly stunning and her performance of Rose’s big number “Pretty Funny” is magic and truly moving.

Eddie and Rose’s duet “First Date” provides the special moments which will make you fall in love with the score.

But that’s not all…there’s a fabulous performance from Jordan Lee as Boland (with a more than convincing accent) and great back up and comic relief from Marcus du Tout as Berstein – and of course Angelique Guiffre’s Marcy (as the “Winner” of the contest”) owns the stage whenever she appears.

The rest of the cast is exemplary, beautifully rehearsed and fully committed to the pursuit of excellence which Spotlight is famous for. Special mention must go to Hunter Wall for his marvelous vignette as the Lounge Singer.

You may not know this musical yet, but you’d be remiss in not seeing it. It’s very special and Spotlight has once again proved that you don’t have to pay $120 a ticket to be brilliantly entertained. Dogfight is very special indeed.

Coral Drouyn