Brian Crawley then wrote the lyrics and Tony-nominated composer, Andrew Lippa the music for this Western Australian premiere of this contemporary Broadway musical,

With the sudden closure of the Playlovers’ Theatre building in Floreat, Stirling Players came to the rescue and helped them stage this dark, but charming play at the Stirling Theatre, Morris Place, Innaloo.

The two and a half hour performances started at 8.00 pm, and the season ran until Saturday 12^th November, with full houses almost every night.

It is Victorian central Africa. A wall of tea chests and packing cases fill the rear of the stage. To the right is a domestic furnace. On the left apron of the stage is a bedroom set, with a mosquito net over the bed. Set designer and artists are Lisa Johnston, Amber Southall, Leon Olson and Cherie Tucker.

The Orchestra is in a side room, opening onto the auditorium. The melodic Musical Director is Paul Olsen and his harmonious musicians are Joan Millington (piccolo), Catherine Warnock and Wayne Griffiths (reeds), Seton Douglas-Smith (trumpet), Sandra McKenna (French horn), David Gee (guitar), David Thai (percussion), Elizabeth Lavalla (keyboard), Elise Rosenberg and Laura Carr (violins). Being in a separate area, meant that the balance of the instruments for the accompaniment worked very well, and the freshness of the instruments’ timbre was particularly clear.

Production Assistant, Celeste Underhill is famous for giving good value to a production, and Stage manager, Bronwyn Hammond coped superbly with the massive cast and the numerous scene changes were ‘instant’ and flawless.

     When widower, Captain Crewe (Paul Spencer) is told to travel to Timbuktu – the most dangerous place in the world – he takes his African batman, Pasko (Richard Maganga), but must leave the caring African house servant, Aljana (Shikuku Cuthbertson). He enrols his young daughter, Sara (Stephanie Shaw, Jasmine Dos Santos alternating nights) into a posh boarding school in London, run by the sadistic, frustrated headmistress, Miss Minchin (Celeste Underhill). At the docks, Captain Crewe waves goodbye, as the ship’s captain (Paul Anderson) and his crew (Alexander Fleckner, Steve Anderson) take good care of Sara on the voyage.

     Crewe pays for special treatment for Sara at her new school; so she has her own room and a nervous, caring maid, orphan Becky (Sophia Matthews). The kind but subservient teacher is Miss Amelia (Erin Craddock), the headmistress’s younger sister; who is also bullied by the Head.

       There are several children in Sara’s class, but she befriends tubby and dim, Ermengarde (Sienna Freeman) and little Lottie (Bella Freeman alternating with Josephine Ellis). A couple of the classmates, Jessie (Ella Hagon) and Jane (Ella Simpson) think Sara is a ‘princess’, and even the two bossy, older girls, Nora (Holly Jamieson) and Lavinia (Katie Price) tend to show her some respect. However, when Sara’s funds dry up, her life is about to change for several years, but her generous nature still shines through.

    As Captain Crewe is trekking north through Africa, a tribal chief, Widow Zuma (Tara Lynette Elliot) puts a deadly curse on him. Soon he is starving and ill – will he survive?

     Could Becky’s Mum (Meesha Williams) really be still alive? Why does Queen Victoria (Amber Southall) want to meet Sara?

Choreographer, Amber Southall and her dance captain, Jamie-lee Olson, could easily have taken the easy way out with their African ensemble (Samantha Chidoko, Sandra Chidoko, Tanyaradzwa Matibiri, Arthley Matibiri, Tamara Perrozzi, Kevin Romeo and David Thai. Faced with such a large and young cast, many choreographers would present a little soft shoe shuffle, or some simple tribal stomping; however, Amber has practically the whole cast dancing at a breakneck tempo, every limb flayed and vibrated, as the bodies bobbed up and down. The actors were flawless, never missing a beat, and with their broad grins the warmth flowed to the audience. Lighting consultant, John Woolrych and his designer Katrina Johnston gave a glorious multitude of colours, pulsing to the beat of the African music. Operator Katrina and Steve Ellis did a wonderful job.

The busy London street ensemble included Sharon Malcolm and Eleanor Rowe, with umbrellas – what else in London? Hair stylist, Erin Craddock’s creations along with Candice Mountford and Tara Elliott’s makeup, impeccably complemented the hard work of costume coordinator, Lyn Hutcheson and her creative team of Kimberley Shaw, Amanda Simpson, Fran Gordon, Shikuku Cuthbertson, Linda Matthews, Amber Southall and Talia Hagon.

The headsets (technicians Ian Wilson and Daniel Toomath) worked perfectly and the soundscape had real life to it. All of the singing was to put it mildly – SUPERB. One expects the adults to be harmonious, with good enunciation and note perfect, and they were! But with youngsters as young as 8 years old in the cast, one can only hope for a ‘reasonable’ bit of quality from them. It was obvious from the first few notes of music, that I had set my standard far too low, every single ‘school student’ could easily perform in a major professional production – and I am sure they will – the quality was mind-blowing.

The night I saw the show, Stephanie Shaw played Sara, and her stage presence was something special. Her whole body was acting. Her voice was flawless, reaching every note of the large vocal range demanded by the score. The storyline necessitated emotions from elation to deep sadness, and was tackled immaculately by this young performer. I have been assured that the ‘other’ Sara was top notch too.

For Director Lisa Johnston this was a massive task, but when a show looks smooth, with great singing and flawless performances then you know that there is a huge amount of work and many sleepless nights behind it.

Many congratulations to all, a vibrant and yet sensitive show.

Although I may be known for being politically incorrect at times, I still found the amount of coarse language and some of the themes of this ‘fun’ rock opera unnecessarily objectionable. I would suggest 14+ as an advised age group.

In 2000, ‘High Fidelity’ was also adapted by Stephen Frear into the hilarious, top box office family film.

This 150-minute show can be seen at the octogenarian Roleystone Theatre, 587 Brookton Hwy, Roleystone on Wednesday, Friday and Saturday nights at 8.00 until 19^th March, with one matinée at 4.00 pm on Sunday 13^th March.

The front half of the stage was Rob’s home, with settee, foldaway bed and shelves of LPs. When the mid-stage screen was rolled up (flies by Ruby Higgins), there was a busy, specialist record store (clever designed by James Earnshaw, with excellent props Kathryn Ramsell) revealed.

The flowery shirts, vinyl skirts and unusual hairdos (Genevieve Brown) beautifully captured the 1980s atmosphere.

Montanna Tickner’s colourful and lively lighting design was well thought-out (rigged by Simon Walters). Cassidy Bodenham and Catherine O’Donoghue carried out the smooth stage management.

The lively and at times quite complex choreography was conceived by Kristen Twynam-Perkins and Emily Botje. It was enthusiastically performed by the cast.

Ethan Walters conducted the live, but hidden orchestra, comprising Liam Gobbert, Vlad Sturdy, Liam Richer, Paul Marion, Megan Pedlar, Krispin Maesalu and Emma Mondy. Dylan Shelton and Paul Marion were in charge of the sound. Although the live band was well-balanced, the overall sound balance between band and performer was a little off, with some of the dialogue lost to the accompaniment. Rob wore a headset, which helped, but perhaps a headset is required for every singer with live music, so the audience can appreciate the clever lyrics.

     Rob (David Wallace – well done), runs a specialist record store, the ‘Championship Vinyl’, with his assistant Barry (Richard Maganga) – a bandleader who is into weird music – and the nervous, slightly dim, Dick (Kyle Kash). Rob is getting fed up with the business as he spends hours dealing with strange nerds like ‘TMPMITW’ (Jake Tolich) – no one knows his real name – and the odd, unfashionable, middle-aged man (Paul Treasure) who is requesting a tasteless Celine Dion record for his daughter. Rob’s depression eventually reflects on his attitude to his loving partner, lawyer Laura (Caroline Perks).

     Laura, partly on the advice of her outspoken friend Liz (Kimberley Harris – excellent) leaves Rob to live with tantric-loving Ian (Luke Daly). Meanwhile in the shop, Dick has been spotted by attractive Anna (Molly Earnshaw), who is now trying every trick in the book to capture his heart.

     Rob feels alone, so goes to the local bar where he reminisces on some of his old loves, Charlie (Alyssa Burton), Alison (Emily Botje) and finally Sarah (Natalie Cox) who he drove to lesbianism. On the pub stage, the roadie (Caelan Steedman) and the sound engineer (Tyler Eldridge) have set up the microphones for the evening’s star act, Marie La Salle (Allison Harrison).

       Is there any love left in the world today? Or is there only heartbreak?

This is the type of play where everyone in the cast got their 5 minutes of stardom. Without exception, every singer performed mellifluously and some great singing. From the soft tones of Laura’s distress, to the powerful ‘belters’ by Liz. Dick sang a couple of songs with his shy approach; deliberately sounding a little like Kermit, he brought a smile to the audience’s faces. Paul Treasure and Jake Tolich provided a whiff of fame to the show, with quality, instantly recognisable, impersonations.

Director Kristen Twynam-Perkins, who won the ‘best musical of the year’ award for the rock opera ‘Bare’, has done another wonderful job with this musical. Faced with a poor script and mediocre story-thread, she has still managed to pump life and interest into the performance.

It is a little sad when you see so much skill and enthusiasm being put into a show, which is doomed from the beginning to being unremarkable.

The whole cast and team can be proud of their efforts, they gave their all.