It’s the tail end of the roaring 20s; machines are coming of age, romance is dying (or is it?), but cigars are still hand-rolled with love and dedication in a small family factory in Tampa, Florida.
Not Nicole Kidman on anatomic steroids, but the love child of Ethel Merman and Ernest Borgnine, diva extraordinare Varla Jean Merman brassily boasts a treasure chest of cabaret mayhem.
A woman and two men enter the space. She strips down to her underwear, and the men begin to move around her, adding and subtracting things from her mannequin-like body.
A Mistress, Black Magic, Adultery and a King with an anal fistula. This music theatre production appears to have it all, but the sad truth though is that despite some genuinely decent performances from the ensemble the piece as a whole was lacking.
There are scenes where the dynamic relationship between the actors is like watching the ABC’s Australian Stories, sadly this is not realised throughout the entire piece.
In the care of Pinchgut Opera’s director, Erin Helyard, this music, formulaic as it indeed is in some respects, sprang off the page into an experience rich in emotions.
Blind faith and rational belief are always sparring partners in dramatic conflict and so it is here with the power play tinged with superstition and salaciousness.
Contradiction, conundrum, conflict, racism, misogyny and homophobia run through this play like a main circuit cable snaking through a moral minefield of explosive allegation.