Review: THE BOY FROM OZ at ARTS Theatre

Reviewed by Barry Lenny, Thursday 17th October 2024.

The Australian ‘jukebox’ musical, The Boy From Oz, about the life and career of Peter Allen, is being staged by the Metropolitan Musical Theatre Company under the direction of Selena Britz. The book is by Nick Enright, adapted from Stephen MacLean's 1996 biography, and the music and lyrics, of course, are by Peter Allen, alone or in conjunction with other songwriters. It had its Australian premiere in 1998, starring Todd McKenney, opening on Broadway in 2003, in a revised version, with Hugh Jackman.

Peter Allen once described himself, quoted in an interview with Michael Parkinson, as a “pub pianist, made good”. What an understatement. It is a brave person who takes on the role of the flamboyant Peter Allen, especially when following in the footsteps of McKenney and Jackman, and, probably even braver, are those who tackle the roles of those two iconic performers, Judy Garland, and her daughter, Liza Minnelli.

In this production, it is Lindsay Prodea who spends the two and a half hours cycling through a long series of colourful and sequined shirts, Allen’s trademark, as he sings and dances in most of the 46 musical numbers, spread over 37 scenes. He fills the role with energy and enthusiasm, carrying all before him in a wonderful embodiment of the character.

It is a decade since The Met last staged this popular musical and now Bronwen James is back, reprising her role as Judy Garland, capturing the spirit of her character superbly, presenting Garland, warts and all, her insecurities on full display.

A relative newcomer, in her first principal role, Dani Panfilo appears as Liza Minnelli (played a decade ago, incidentally, by Selena Britz, the director of this production). She completes the central trio adding another very fine performance with all the right moves and a voice very reminiscent of Minnelli’s own.

As Peter’s mother, Marion Woolnough, Heidi-Rae Abbey adds warmth and humour to the production, giving a heartfelt rendition of Don’t Cry Out Loud, and Daniel Scott, who played Allen’s partner, Greg Connell, brought poignancy to the role, and shone in his delivery of I Honestly Love You.

The Three Divas: Chloe Dunstan, Jasmine Howis, and Bess Simper-Brown, are kept busy as a backing trio, and performing numbers in their own right, displaying fine harmonies and possessing equally fine individual voices.

Patrick Green and Nemanja Ilic alternate in the role of young Peter Woolnough, with Ilic doing a great job on opening night.

Cast members in the smaller, but no less important roles, and the ensemble, all add greatly to the success of this production.

Musical Director, Jane Feast’s orchestra does well, although the trumpet struggled noticeably with the notes in the upper register. Choreographer, Carmel Vistoli, has created some effective dance numbers, including that nod to Bob Fosse and a few tap routines, although coordination could be tighter in some places.

I had one particular quibble. Operating a follow spot is not so much a skill as an art and, unfortunately, performers continually stepped into the shadow until the light caught up.

Overall, the Met is on a winner with this one and the almost full house on opening night strongly applauded every number, redoubling that applause level on the final bows.

Photography, Daniel Salmond.