I'm not a Whorehouse aficionado. Perhaps I'd better rephrase that. I'm no expert on The Best Little Whorehouse In Texas. Matter of fact, Canterbury Theatre Guild's shiny, new production, at Bexley rissole, is my first time. I'm a Whorehouse virgin. Or was. They say you always remember for first time. I guess that's especially true if your first time was just last Sunday afternoon. What surprised me was that this musical (book by Larry L King and Peter Masterson; music and lyrics by Carol Hall) has its roots, if you will, in real life. There really was a Chicken Ranch. In La Grange, Texas, as against fictional Gilbert, where the musical is set.James Russell and Ray Pittman have done a reasonable revival job. There's a need to pump up the self-esteem and confidence of several key performers, but the whole shebang gets off on the right foot with a pretty impressive set, albeit crammed onto the limited RSL stage. Pittman, the senior director, has worn a number of hats besides: for example, it's his set design and it approximately satisfies all my fantasies about the decor of a wild west bordello; such as they are. He also plays Sheriff Ed Earl Dodd which, as it happens, was one of the best characterisations and performances. Pittman has an exceedingly warm, luxuriant, velvety timbre, which made his big number in the second act (Good Old Girl) worth the wait. He's also a good actor and effected quite a convincing drawl.
Pittman's directorial decisions are innovative, making full use of the space available. Some cast make surprise appearances at the back of the auditorium and a number of scenes intermingle audience and performers. There are some sight-line issues, but nothing too unforgivable.
Melinda Hole's musical direction was solid (she plays a mean alto, to boot); in fact, the only unwanted legacy was that, given the very lively acoustic of the room, the band tended to drown out the singers. The band sounded both competent and reasonably confident, but with that slight reserve that comes of having to fit one's amateur musical commitments around all the other things in one's life. It's the price of love.
Cameron Lewis' choreography was exceptional. Of course, for choreography to look exceptional, the cast have to be up to it, so plaudits to all. There were witty interpolations of line dancing, as well as a veritable cornucopia of down-home styles befitting the locale.
Fiona Murphy was the madam of the Chicken Ranch, Miss Mona Strangely (titter; titter). Believe it or not, this name isn't quite the comic contrivance it seems, being little removed from Mona Stangley, the real-life proprietor. All-round, Murphy's performance was fine, but I would've liked to have seen a brassier energy coming our way. She has no reason to count her talent, so perhaps it's up to Pittman to reassure her and pump up the pizzazz. Carla Cameron, too, could sport a little more sass, as Jewel, Mona's faithful housekeeper. She has a strong, attractive, soulful voice, so why not let her know she's Aretha? I'm sure she could pull off that level of performance. As it was, hers was an eminently likeable showing.
The statuesque Natasha Bartofshefski was Shy, the innocent who soon learns the ropes. Her calibration of this passage showed theatrical maturity beyond her apparent years.
Paul Adderley was comically robust as the Governor, but seemed flat and tentative as the Uncle Sam narrator. John Braams seemed a little self-conscious as the Mayor and his accent lurched between twang and a broad Aussie burr. All the whores acquitted themselves well (Alana Passaris mightn't have had a big role, but was radiant nonetheless), as did the so-called aggies (a kind of slang for jocks from land-grant universities). Among the latter, Claudio Acosta stood out as particularly committed and charismatic. Other cast were quite strong, across the board, with Michael Heming's tabloid television anchor, Melvin P Thorpe.
At the risk of damnation by faint praise, CTG's production is more than creditable, while falling somewhat short of jaw-droppingly good. Mind you, while Whorehouse is a slight-to-good musical, it's not, in my estimation anyway, one of the greats. Even if it does have something to say about hypocrisy and corruption, it seems something of a cynical exercise in itself, lacking much in the way of real heart.
Like I said, I'm no Whorehouse aficionado.
Canterbury Theatre Guild presents
The Best Little Whorehouse in Texas
book by Larry L King and Peter Masterson; music and lyrics by Carol Hall
Directors Ray Pittman & James Russell
Venue: Bexley RSL | 24 Stoney Creek Road, Bexley, New South Wales
Dates: 12 - 21 October, 2012
Bookings: www.canterburytheatreguild.com
