How to Succeed in Business Without Really Trying

Many years ago, Roleystone Theatre produced a season of How to Succeed in Business Without Really Trying, which had such a plagued and difficult rehearsal process, that it gained the nickname “How to Ruin a Musical Without Really Trying”. It ended up being very successful - and had a top 3 Finley finish. This production, with its delayed entry into the theatre, losing their leading man along the way, and a plethora of other challenges, might be said to be following a similar pattern - and has also “Come right on the night” for an impressive production.

The first show in Roleystone’s rebuilt venue, there are some minor but clear teething problems. House lights snap off and on rather abruptly. Set pieces designed to fly in, slide in rather awkwardly - made more obvious because as they are using pre-recorded tracks, there is no music to cover this and auditorium floor lighting is distractingly bright - minor quibbles, beyond the theatre’s control, that I am sure will be fixed with time. In a very short time, the cast and crew have adjusted to the space and sound design under Musical Director Krispin Maesalu and Lighting Design by Stephen Carr, Chloe Palliser, and Peter “Pear” Carr, is effective and well managed.

The set, designed by Director Pear Carr, has a geometric 1960s feel, and movement problems aside, serves the production well. The production generally looks great, with costumes by Sarah Boyle, Penny Ramsell, Jo Padgett, and Alicia Glasson appropriate for both the era and character.

Jason Nettle stepped into the central role of J. Pierrepont Finch late in the rehearsal period, and it is hard to imagine he was not the first choice for this role, a character he sits in comfortably and performs with charm. Blessed with a good voice, and moving well, he shows excellent comic timing. Finch is following his book "How to Succeed in Business Without Really Trying” to the letter, and we hear the book through the voice talent of Paul Treasure (who is making a habit of this work - concurrently “performing” in a similar capacity in Melville’s Sweet Road.

Oneisha Ludlow is executing one of this year’s fastest “turnarounds” to play girl-next-door heroine Rosemary Pilkington, with conviction, having just stepped out of AIM’s Disenchanted. Voice of reason, Ms Smitty Smith, is gorgeously inhabited by Isabella Bourgalt - in one of the show’s strongest performances - funny and refreshing. Finch’s rival, mummy’s boy Bud Frump, is expertly portrayed by Matthew Walford - who skilfully is beloved by the audience despite a despicable character.

Callum Presbury plays big boss J. B. Biggley with lovely bluster and authority. Sonja Reynolds is efficient as his secretary Miss Jones. Breanna Redhead has great presence as the sexy Miss Hedy La Rue, Dale Pendlebury brings beautiful tones to Mr Twimble and is distinctly different as Wally Womper, while Chris Alvaro is strong as the Southern Mr Bert Brott.

Great work from those in smaller roles and the ensemble - successfully covering the absence of Evan Bialis, ill on opening night. Dancing under the varied choreography of Chloe Palliser and Cortni Cooper is executed with enthusiasm and good timing.

An impressive production that augers well for a successful future for Roleystone Theatre. Lots of fun and an enjoyable night out.

Kimberley Shaw