With so many delightful moments leading up to the show’s iconic tune there is never any doubt that it’s going to be carried off in style – but Gene Kelly’s song and dance routine from the 1952 film has such legendary status that reproducing it on stage is not without risk. 

Singin’ in the Rain floats on an intoxicating feeling of romantic euphoria that seems entirely spontaneous but making it work on stage means getting whole of host of things just right and this production has all its ducks perfectly aligned: [More]

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“Raining live onstage!” shouts the poster. Play back Singin’ in the Rain’s most famous scene for a moment, Gene Kelly tap-splashing as only a man possessed by love (and a real life raging fever) can do. If there ever was a good argument for adapting the MGM film musical for the stage it would be the opportunity to see this iconic moment of care-free passion performed live. It does not disappoint. As gallons of water fall on his head, Grant Almirall’s Don Lockwood leaps, taps and twirls exuberantly on the flooded Civic Stage.

I’m filled with childlike joy as he makes his big splashes, sending a few a gallons worth of water into the front rows too for good measure, as he kicks to each cymbal clash. I overheard many people expressing being in the “splash zone” (with complimentary rain ponchos), looked like a heck of amount of fun. If only the rest of the show could have been as perfect as this scene. [More]

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If you let nostalgia wash over you and embrace this lavish depiction of Hollywood in 1927, a time when the industry is a whirl of uncertainty and insecurity as ‘talkies’ start replacing silent movies, then this honorable retelling of a simple upbeat love story, made famous by the 1952 MGM movie, will fully captivate your imagination.

In particular, when director Jonathan Church unleashes the extravagant company numbers, full of sass and style – with Andrew Wright’s high-octane choreography and Simon Higlett’s sumptuous set design and costumes, all precisely and beautifully lit by Tim Mitchell in a way that could simply be described as art – this production simply soars.

Add to that highly theatrical mix more than 12,000 litres of water and the ‘feel good’ factor in the audience is palpable. 

Higlett’s grand design is impressive and intriguingly historically correct. For example, the famous sign on the hill is as per the original 1923 commission by the real estate agent who paid for it. His eye for detail is impeccable, no more so than in the gorgeous black and white film segments which, when combined with video director Ian William Galloway’s obvious sense of fun, are delicious to watch. Long self-indulgent kisses, unrealistic sword fighting and melodramatic swooning, combined with Musical Director Louis Zurnamer’s well-timed live orchestral accompaniment, cement the movie segments as absolute highlights. 

Much respect goes to the cast for their effortless ensemble connection, as well as to every one of the 28 performers, for their full investment in their every move, step and note. The energy and hubbub of the opening, set ‘behind the scenes’ at a busy Hollywood studio, is particularly sensational. Church uses this gifted cast brilliantly as we move smoothly from scene to scene, so that the whole evening feels like a rolling journey, rather than a series of set ups. 

In between the colourful company moments, all the leads are full of perk and have immense fun with the simple story line and comedy – which is pure slapstick, cliché, cheese and ham. Bethany Dickson, last seen here as Maria in The Sound of Music, is equally stunning in the role of Kathy Selden. Grant Almirall as Don Lockwood marks his NZ debut with a charming and joyful rendition of ‘Singin’ in the Rain’. Steven van Wyk as the irrepressible Cosmo Brown is sensational in ‘Make ‘em Laugh’ and is every bit the triple threat required to pull it off with polish and flair. When they combine for ‘Good Morning’, the fabulous three are pure sparkle.

Not to be out done by the dynamic trio, Taryn-Lee Hudson as the shrill Lina Lamont, gives a knockout performance. Acting out singing badly is extremely hard to do and Hudson absolutely nails it. Anne Power as Dora is suitably over the top; Kenneth Meyer is impressive as the dialect coach in ‘Moses Supposes’; James Borthwick as R F Simpson and Mark Richardson as Roscoe Dexter both fill their roles admirably. Finally, dancer Mila De Biaggi delivers a breath taking star performance during ‘Broadway Ballet’.

While initially intonation is an issue, the hard working orchestra does well with Larry Wilcox and Larry Blank’s complex score, which is brimming with notes, often played at an unrelenting pace.

What a wonderful thing it is to step back in time and fully appreciate the wonder of such a glamorous era. The opening night audience – who are attentive, appreciative and listening from the start – jump to their feet en masse for a well-deserved standing ovation at the end of the night. Because the most memorable moments of the night for me personally are when the full chorus is unleashed, I find it fitting that the finale, a rousing reprise of ‘Singin’ In the Rain’, stars the full company in uniform. Wearing the same costumes, dancing the same steps, these 28 fine performers, are uniformly brilliant.

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Occasionally small gifts come with programmes. Ominously, a handy plastic poncho raincoat came with my programme for Singin’ in the Rain. Luckily it wasn’t needed in row J, but it might have been useful if I had been in the front two rows. 

The highlight of the show and the climax of the first act is of course a staged version of one of the most famous and beloved of all scenes in movie history. [More]

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Right from the get go, this Lunchbox Theatrical Production is slick and full of energy.  The ensemble hurry in and out during the excellently played overture setting the scene of the busy film set at the studio of Monumental Pictures.  

Its 1927 and romantically linked – so the tabloids say – Don Lockwood (Grant Almirall) and Lina Lamont (Taryn-Lee Hudson) are the studio stars of the silent movie at a time when ‘talkies’ are about to burst forth onto the screen.   

After a chance meeting with chorus girl/aspiring actor, Kathy Selden, (Bethany Dickson), Don Lockward falls in love, but Kathy is driven away by Lina’s jealousy and revenge.  

During the filming of ‘The Dueling Cavalier”, the head of the studio R F Simpson (James Borthwick) announces that they will convert the film into a ‘talkie’ after the roaring success of a rival studios The Jazz Singer and they try to train Lina’s shrill and grating voice with farcical results.  

Studio pianist Cosmo Brown (an engaging and very comical Steven van Wyk) comes up with the idea to make the movie into a musical, The Dancing Cavalier, and after Kathy reappears on the scene, they decide to use her voice to dub over Lina’s dreadful voice.  Lina discovers this deception, sings the uproarious ‘What’s Wrong with Me?’ and tries to turn the tables on the studio to make Kathy continue to over-dub her voice in subsequent movies but her plan is foiled and she is exposed as a fraud to the public.  

The story – both hilarious and charming – is brought to life on Simon Higlett’s sumptuous set with the ensemble seamlessly manoeuvring props and set pieces. Add in Tim Mitchell’s cleverly woven lighting design merged with the era-precise costumes, in what seems to me to follow the colour graduation of cinema’s technicolour development. The brilliant black-and-white silent movie pastiche, into the more muted grey and creams with small amounts of pastel colour appearing in chequered vests, chiffon frocks and window panes as if stylistically hand painted onto the film itself, through to the patriotic star-spangled shimmering of ‘Beautiful Girl’complete with Tiger Moth, to peak with the heightened bright futuristic colour of the magical and magnificent dream sequence in the ‘Broadway Ballet’/’Gotta Dance’. Special mention needs to be made of a sultry cabaret chair dance by the male ensemble and, I think, Mila De Biaggi. 

There are so many memorable moments from the superb ensemble dancing, to the comic buffoonery in numbers like ‘Fit as a Fiddle’, ‘Make em’ Laugh’,and the thoroughly entertaining ‘Moses Supposes’. The camaraderie and obvious enjoyment these talented performers bring to show-stoppers like the tapping slapstick trio ‘Good Morning’, and the iconic, audience awaited (as shown by the cheers and applause)  ‘Singin’ in the Rain’which isdanced fabulously by Grant Almirall – complete with 12000 litres of recycled water for the two times it is danced each performance: quite something to behold and fun for the poncho’d audience members in the splash zone too.

From the excellent band, to the mostly crisp clear balanced sound, this is a wonderfully entertaining evening of a story which stays beautifully true to the original film.

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