Ladies in Black

A full house welcomed Ladies in Black back to their original home last night with a standing ovation. This successful home-grown musical about female department store assistants in Sydney in the late 1950’s has gained an army of followers after seasons in Sydney and Melbourne.

Apart from five major cast changes the production remains the same as that which premiered at the Playhouse in November 2015. It has many joys; a stylish and evocative set, colourful haute couture dresses, a couple of songs that bring laughs, and an ensemble of engaging performances.

Newcomers to the production - Madeleine Jones, Tamlyn Henderson, Ellen Simpson, Trisha Noble and Natalie Gamsu are every bit as good as the originals, with Gamsu possibly being even better. Jones brings terrific vocals and down-to-earth charm to sales assistant Patty, whose marriage is in crisis after a doctor’s report shows her husband might be impotent, whilst Henderson as the husband Frank is an equally strong presence with far too-little stage time. Ellen Simpson is also a delight as the frightened she’ll-be-left-on-the-shelf-at-thirty Fay - sexy, gauche, and a powerhouse on “I Just Kissed a Continental”. Magda, the Slovenian doyenne of Model Gowns, fitted Gamsu like a glove. Whether appearing in a swimsuit or decked out in some flattering finery she captured the character’s exotic edge with class.

Sarah Morrison still plays the ingénue Lisa and has developed more assurance in the role, but the part (no fault of the actor) is still incredibly passive. Greg Stone again in the dual roles of Lisa’s dad and Stefan switched from ‘ocker’ to European with ease, Carita Farrar Spencer was an anguished and adoring Mrs Miles, Bobby Fox’s Rudi nimbly swept his new-found love around the stage in a burst of passion, whilst Trisha Noble’s Miss Jacobs had a nice touch of pathos. Kathryn McIntyre (Myra/Dawn) and Kate Cole (Miss Cartwright/Joy) added great support.

Simon Phillips’ direction frequently goes for easy laughs and caricature but his second-act opening played as a romantic vignette from Anna Karenina was on the money.

“He’s a Bastard” is still the showstopper in Tim Finn’s spotty score, whilst Carolyn Burn’s book still lacks heart. It’s not the world’s greatest musical but it does capture the period gracefully and it entertains.

Peter Pinne