Review: SUMMER RAIN is Simply Charming Home-Grown Musical at New Theatre

It is a wonderful time of year to be reminded of the romanticism inherent in the Australian outback; a topic more frequently explored of late for links to our history, our current social climate and our connection as a nation. Summer Rain is the work of two Australian theatrical legends, Nick Enright and Terence Clark. Summer Rain is no Boy from Oz, but this production is undeniably charming, a quintessential musical, and a wonderful ode to Australia's natural treasures. Debuting as director, Trent Kidd has shown great skill with stagecraft and character development, alongside his clear choreography talents which truly thrive in Summer Rain.

In 1945, times are tough for the Slocum family as a band of travelling entertainers seeking to raise the spirits of post-war, rural Down Under. Having lost all their money, and all the crew they're not related to, they make a literal-last-ditch attempt at saving their skins in Turnaround Creek. For patriarch Harold, this is a return fraught with fond memories, lost love and an old enemy. Nonetheless, when upon their arrival the town finds itself with the first rains in six years, it seems a good omen for the family as they attempt to pull off what might be their last show, what might be the start of an amazing future for them all, or might even be both!

The ensemble workEd Strongly together, vocally as well as in performances. Catty Hamilton was a knockout as Joy Slocum, every inch the ingénue who didn't put a foot wrong throughout the show, carrying off the bubbly demeanour without any sense of triteness. Nat Jobe as her love interest Clarrie also showed great promise in song and dance, with the animation and comedic familiarity to enhance the ambience on stage. Jacqui Rae Moloney in the role of Ruby is unmissable between her raw vocal quality and great attitude to bring the sassy Slocum to life. Michele Lansdown brought all kinds of Aussie-soap nostalgia to the role of Turnaround Creek local Renie McKenna, while Anna Freeland as Peg Hartigan was the singing standout with a ripe sense of heart brought to the character. Laurence Coy as the initial-antagonist Barry Doyle gave an admirable performance that made up for polish with all the chutzpah needed to give the piece some depth beyond the usual narratives we expect in musicals.

Andrew Sharp's Harold was every bit the showman and although his character wasn't the most likable, Sharp took that responsibility on, and with it the weight of the show's dramatic premise. Joy Miller, Clare Ellen O'Connor and Brett' O'Neill were all a delight to watch, and Rebecca Burchett is clearly a star on the rise. David Hooley and Tom Handley as Peg's love rivals each honoured their solider-survivor storylines wonderfully, and proved both their theatre talents run deep, the former dramatic, the latter musical. A touch of red pen wouldn't have gone astray in some places, where in others entries and exits didn't always leave enough time for punch or poignancy, but on the whole Summer Rain was a wonderful night of home-grown theatre.

Summer Rain was as wholesome as an ANZAC cookie, with all the touches of yakka and true blue you could want. Mason Browne's costumes showed real ingenuity and his set moved as well as many of the performers; the references to classic musical theatre shapes and period pieces made Summer Rain visually delightful. Tim Cunniffe and Glen Moorhouse did wonderful work with the score, which threaded its way through the work consistently, and levelling nicely against vocals. Credit is likely due to Caroline Mooney as well for assisting Kidd in directing and choreography, lending itself to a strong and holistic approach to use of space, and touches of classic Fosse and Ashford.

As it comes into its final weeks, Summer Rain remains a staple of New Theatre's season of left-of-centre musicals, it's you-beaut, little-ripper, dinky-di, and a soundtrack you'll be playing on your eucalyptus leaf all the way home.

Tickets available here.
Images by Chris Lundie.

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