Reviewed by Kate O'Sullivan
The Gilbert and Sullivan Society of WA has taken a bold step outside their usual repertoire with Kiss Me, Kate, marking their first foray into the world of musical theatre. It’s always exciting to see a company challenge themselves, and in many respects, this production at the Dolphin Theatre succeeds, particularly through its strong performances and a detailed set design. However, there are a few growing pains that suggest the company is still finding its feet in this new genre.
The cast is led by a quartet of outstanding performers. Hayley Parker shines as the fiery Lili/Kate, delivering a performance full of intensity and charm. Opposite her, Ian Lawrence is powerful and consistent as Fred/Petruchio, embodying the role with confidence. Calen Simpson’s Bill Calhoun brings a roguish energy to the stage, while Taylor Westland finds a perfect match for her voice and lively stage presence in her role as Lois/Bianca. Together, these four anchor the show with charisma and talent.
Among the supporting cast, Ben Albert offers a delightful take on the oft-overlooked role of Paul, bringing warmth and ease to his performance. Sarah McCabe complements him well as Hattie, and the two share an infectious energy. Special mention must also go to Jennifer Van de Hoek, whose portrayal of Ruth, the stage manager, is a scene-stealing delight. Her comedic timing and larger-than-life presence add a wonderful layer of humor to the production.
Vocally, the show impresses with strong harmonies from the entire cast, though there are moments when the cast’s unamplified voices struggle to compete with the robust live band. This is particularly noticeable in underscoring sections where spoken dialogue is sometimes lost, a technical issue that can hopefully be adjusted as the run progresses.
One area where the production stumbles slightly is in the choreography. Dance is not typically a central feature in the society’s past productions, and it shows here. While the featured dancers do their best, the choreography lacks variation, which is especially apparent given the extended dance breaks in Cole Porter’s score. In sections where the pacing of the orchestration slows, the momentum of the show begins to lag. It's a commendable effort for a company branching into unfamiliar territory, but these scenes could benefit from more dynamism and polish.
The set design is effective, with multiple trucks and large set pieces creating a visually engaging environment. However, the size and complexity of the set do contribute to some lengthy scene changes, another aspect that may tighten up as the production progresses. The lighting design is well-considered, skillfully breaking up the large stage and enhancing the mood of the various scenes.
Overall, Kiss Me, Kate is a promising first venture into musical theatre for the Gilbert and Sullivan Society of WA. While there are some areas for improvement, the production is anchored by strong performances and a clear enthusiasm for the material. For a company stepping out of their comfort zone, this is a commendable first step, and it will be exciting to see how they continue to develop in this new direction.
Reviewer Note: Kate has previously worked with a couple of cast and band members on this production. Tickets for this review were provided by the theatre company.
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