Of Thee I Sing

Boutique musical theatre company Squabbalogic and Sydney Philharmonia unlocked a Gershwin treasure chest for just two performances at the Opera House, and the city’s music theatre tragics will be forever grateful.

While much of the American political satire in this 1931 Pulitzer Prize winning musical comedy has a timely and universal ring to it, backed up by a wonderful score, it’s never had a full production here, and probably never will. Though the Gershwin score is a delight, the book is distinctly of its time, and often particularly un-pc by today’s standards.

That’s not to say it isn’t fun (put firmly in context), and doesn’t have some quite distinct resonances with current local political events. Happily Jay James Moody’s direction was always firmly tongue-in-cheek.

With party policy on the nose, it’s decided that a US presidential nominee will run on a simple campaign platform of love. Initially his wife is to be chosen from a national beauty pageant, but Presidential candidate Wintergreen throws a spanner in the works when he falls in love with Mary, who wins his heart with her corn muffins. The change of plans eventually sparks an international diplomatic crisis and potential impeachment (read leadership challenge).

A cast of seven talented musical theatre performers, five of them switching deftly between multiple roles, take on 20+ of musical’s numerous characters, with choristers popping in and out to fill the remaining cameos in a capably staged bare bones production, across the apron of the Concert Hall stage.

The thrill of a sweeping interpretation of the Gershwin overture by conductor Brett Weymark and his 40 piece orchestra made it clear that musical treats lay in store.

In excellent voice, David Berry’s President Wintergreen is suuitably slick and suave.

Courtney Glass is all style as Mary, with her clear, pure vocals. It’s the first time I’ve seen Courtney, a relatively recent arrival from America, in a more glamorous role, though she also throws in a deliciously gauche hotel chambermaid for good measure. Director Jay James Moody clowns his broad comic way through the role of gormless Vice-President Throttlebottom. Jamie Leigh Johnson delights as a kooky vacuous Southern belle, also easily transforming into someone far straighter. Blake Erickson, Nathan Farrow and Rob Johnson all slip effortlessly and effectively between a range of supporting roles.

The vast choir give splendid voice to the Gershwin ensemble numbers and revel cheekily in their mass hand choreography.

Music theatre tragics can only hope there will be many more such collaborations between Squabbalogic and Sydney Philharmonia, s we can savor the lesser-known delights of the musical theatre canon. Deep in contemplation of my own wish list, I strolled away from the Opera House.

Neil Litchfield

Photographer: Michael Francis, Francis Fotography