Ruthless!

Judy Denmark is the model of the perfect 50s mum, devoting her life to pandering to the every whim of her daughter, the adorable, talented and murderous Tina. With apparently no thought for her needs, Judy is content with enabling her exceptional daughter to perform, and she’s definitely not at all self-basting in the tasty juice of reflected glory. Or, is she? Could that be why her daughter is a sociopath?

This farce great fun and the cast are absolutely relishing embodying this bunch of awful showbiz characters. Jenna Roberts sparkles as Judy, her character arc taking her from a faux-naïve self-abnegating mother to self-actualisation as she finds her inner egomaniacal diva. For a while you might be lulled into believing that Judy is the only character with a conscience, but you come to realise that actually, no, every one of the characters is irredeemable. Jessy Heath plays spoiled tap-dancing eight-year-old psychopath Tina Denmark to perfection, while Tracy Noble’s teacher Myrna Thorn is a joy to watch as her dowdy and benign becardiganed teacher veneer cracks to show her bitter, vengeful inner self. Dee Farnell’s Sylvia St Croix is a glitzy showbiz egotist, one memorable detail a moment when she gleefully she spots then basks in her own narcissism. Eryn Marshall’s bratty Louise makes an uproariously terrible Pippi Longstocking, and later Eryn has great fun with a character who classic movie buffs will immediately recognise.

It’s a while since I’ve seen a Jordan Best comedy and was reminded again of her flawless comic timing. The dialogue here cracks along, jokes are delivered deadpan and when there’s a beat it’s to let satirical ironies land, like when theatre critic Lita Encore belts out the classic show tune I Hate Musicals. This fabulously bitchy number was a highlight for me with Janie Lawson channelling Ethel Merman. Another stylistic reference was Dee Farnell’s sideways nod to Liza Minelli and there are sure to have been others I’ve missed. Nicholas Griffin’s musical design is economical, recreating a full Broadway sound with just two instrumentalists. He takes six huge voices and helps them shine in their individuality in solo, and meld beautifully in harmony.

Bringing it all together is the fabulous visual design, with Anna Senior’s cartoon-styled glamourous costumes blending beautifully with Ian Croker’s set which features clean lines and fab retro shapes and colours. Last but not least, Jacquelyn Richards’ choreography is classic jazz-influenced Broadway show with Jessy Heath getting to show off her tap and splits.

The lightness of the tone here belies the talent and effort that has gone into making this a fabulous night. It’s a brilliant distraction from all that’s going on at the moment, and hey, isn’t it great to be in the theatre again? Just what the doctor ordered (feel free to wear a mask).

Cathy Bannister

Photographer: Ben Appleton