Review by Juliette Ebert
There are shows that teach lessons, shows that are technical feats, and shows that tell a compelling story—and then there are shows that are so gosh darn-enjoyable, featuring a cast having so much fun, you get lost in the delight of it all and leave your world and troubles behind for the evening. On opening night of the Queensland premiere of “Honeymoon in Vegas” frivolity, flash, and fun were on full display at Gold Coast Little Theatre where the creative team have assembled a dynamite cast and 12-piece on-stage orchestra to take the audience on a journey to Brooklyn, Las Vegas and Hawaii – all within the walls of their 156-seat theatre.
Based on the 1992 film of the same name, Honeymoon in Vegas premiered on Broadway in 2015 and was well-received by critics, who especially praised its foot-tapping, upbeat score by Jason Robert Brown. The premise oozes 90’s rom-com: Jack Singer is eager to marry his girlfriend of five years, Betsy Nolan, but is haunted by his late mother’s dying wish that he never marry. Frustrated by his indecision, Betsy agrees to elope with him in Las Vegas. Once there, wealthy gambler Tommy Korman, captivated by Betsy’s striking resemblance to his late wife, tricks Jack into a rigged poker game and wins her company for the weekend. With showgirls in feathers, Elvis impersonators, airport hilarity, and a lot of romance, the story is low-stakes drama in a high-stakes town.
It is evident from the start of the show that this is a polished, confident, and well-rehearsed production. The storyline is outrageous, but Director Tony Campbell has brought out the heart of each character and nurtured the strengths of his actors to balance the absurdity. Every moment of the show is executed with intention, from the ensemble movements during scene changes, to the use of lighting/props to support the Vegas-theatre-style set, to explosive partner scenes. I was particularly impressed with the cast’s comedic timing considering this was opening night—each performer felt like they’d been in their role for weeks, comfortably grounded in their pace and rhythm. Despite some minor sound and lighting glitches, there was no evidence of opening night jitters amongst the cast.
The orchestra, under the baton of Musical Director Julie Whiting, is remarkably full in sound, with plenty of solos giving musicians the chance to showcase their exceptional technical skill. The entire cast, from leads to ensemble, handles Brown’s score with aplomb, nailing all the right notes and never faltering on the many held-out notes required of them.
Choreographers Natalie Cassaniti and Andrew King defied the laws of geometry in choreographing full ensemble dance numbers on a narrow stage that were dynamic and clean. I especially enjoyed their clever use of levels in numbers like “When You Say Vegas” and their slick partner work throughout the show; the cast had no visible missteps which is a testament to the choreographers’ creativity and a disciplined rehearsal process.
At the heart of the story is our cursed couple, Jack and Betsy. Brody Seignior as Jack opens the show singing the recognisable “I Love Betsy”, with oodles of leading man charm and pitch-perfect vocals. He is guileless, giving the audience an honest hero to root for, even as we chuckle at his misfortunes. His naivety is grounded by Ruby Hunter portrayal of Betsy: she is feisty yet caring, soft yet self-assured. Hunter truly shines every time she sings, with a bright and clear voice reminiscent of Jodi Benson or Liz Callaway. Perhaps the most impressive feat is that she seems to get better with every song—and there are a lot of them—leading to a showstopping display of vocal power in the finale.
Andy MacFarlane plays the smooth-talking Tommy Korman, a character who would be easy to dislike if not for MacFarlane’s amiable smile and effortless charisma. He gets big laughs during “Out of the Sun”, then really wins the audience over with his soft-shoe tap solo in “A Little Luck.” His chemistry with Leigh Harrison as Tommy’s henchman Johnny Sandwich recalls the fast-talking bad guys from Marx Brothers movies—their dialogue is tight, snappy and full of wit. Harrison is an excellent comedian, delivering facial expressions that could easily be inspiration for the next big cartoon character.
Supporting roles bring plenty of heart and humour to the production. Nicole Rozen as Bea Singer, Jack’s Mom and the curse-bearer, instantly adds hilarity leaving the audience wishing for her return. Greyson Vaughn as Las Vegas entertainer Buddy Rocky is the epitome of suave with a casual “I’m-not-even-trying-that-hard” attitude that perfectly suits his song-and-dance numbers.
Notable highlights from the Ensemble include George Pulley’s committed performance as an Elvis impersonator, Lucy Martin’s exquisite physical comedy as Saphire De La Tour, Tianna Paget’s playfulness as Mahi, and the trio of Samantha Sherrin, Anthony Vitetzakis, and Kate Davidson in the “Airport Song” (which is so funny I won’t spoil it by trying to describe it here). The ensemble brings depth and personality to every character, with joy that is truly infectious. “Higher Love” into “Elvii in Flight” is big, bold, ridiculous musical theatre at its finest, and the ensemble’s work in the finale is pure magic.
Adding to the refined look of the show are extremely well-tailored costumes from Millie Talbot that capture the spirit of each character and setting. Lighting Design by Brett Roberts is clever in setting the tone of each scene of the show— from the use of strobe-y colours in a flashback moment, to flickering hotel lights, to the Hawaiian sun, every lighting choice helps to further support the story.
Honeymoon in Vegas is the kind of show that leaves you smiling long after the final curtain. With thoughtful direction, vibrant choreography, a talented orchestra, and an effervescent cast, Honeymoon in Vegas is a night out that feels like a mini-vacation. So if you’re looking for a feel-good escape, Honeymoon in Vegas delivers—and then some.
Bravo Gold Coast 