I Love You, You’re Perfect, Now Change

Griffith University’s Queensland Academy of Excellence in Musical Theatre chose a certain winner for their second production of this year. As directed by the versatile Jason Klarwein, this production of I Love You, You’re Perfect, Now Change is bracing, with plenty of fresh talent, perfectly showcased.

The show is a series of unconnected but chronological scenes running the gamut of relationships – from first dates to wedding vows. There’s plenty of material here to let our talented performers sink their teeth into some sharp satire and witty comedy. The fun kicks off right off with ‘Not Tonight, I’m Busy, Busy, Busy’ featuring Ally Long and Oliver Palamara as a couple skipping the boring stages in the relationship arc. Reality bites with ‘Men Who Talk and the Women Who Pretend They’re Listening’ with Ebony Portelli and Jay Monck. And gender expectations are turned on their head as the wise guy tears up at the chick flick in ‘Tear Jerk’ featuring Jack Ryan and Alyssa Mastromanno.

There are breathtaking ballads – ‘I Will Be Loved Tonight’ by Charlotte Sligar – and topical irony with ‘A Picture of His Penis’ sung by Kaylen de Gersigny, Ally Long, Jack Ryan and Oliver Palamara.  ‘Highway of Love’ highlights how relationships change when a couple is behind the wheel and I loved the performances of Ebony Portelli and Nick Smith here. As gay new Dads, James Macaulay and Jay Monck were hilarious. ‘Always a Bridesmaid’ gave Ashley McLaren, Sophie Moman, Alyssa Mastromanno and Charlotte Sligar a chance to show off their singing chops, with some lyrics causing hysterics in the crowd around me, as the bridesmaids lament the fashion sacrifices they’ve made (“For Caitlin, I wore satin, which made me look fat in”) with no guy in sight as a reward. The finale by the full company was the perfect ending for a very satisfied audience.  

The vignette format of this long-running Off-Broadway hit allows for an interchange of multiple performers and Jason’s direction ensures that everyone gets their moment in the spotlight. First performed off-Broadway in 1996, the vibe sometimes reflects the pop culture of the day, feeling as familiar as the Friends sitcom that preceded it by a year or two. The scenarios could have felt dated, but there seems to have been some sharp revisions to bring the relationships up to date while highlighting the timeless nature of our struggles with love and lust.

The live on-stage band was a welcome bonus, with Musical Director, Heidi Loveland, also tackling the keys, along with Keisha Neale (flute), Claire Challender (reeds), Joel Sanchez-Carn (guitar/bass), Abigail Chadirchi (drums). Splendid choreography was by Dan Venz, and a brilliantly simple set was courtesy of Josh McIntosh, with lighting design by Keith Clark, sound design by Steve Thornely, and costumes by Desley Macpherson

While the cast are adept at the New York accents (songs namecheck local landmarks like Macy’s department store) I look forward to seeing this talented group of performers in an Aussie musical some time in the future. The troupe’s next production is Legally Blonde The Musical.

Beth Keehn

Photographer: Kenn Santos @ PIF Productions

Find out more: queenslandconservatorium.com.au/legally-blonde-the-musical/