★★★★½ An almost flawless adaptation that offers technicolour escapism from the first note to the last raindrop.

Her Majesty’s Theatre, Melbourne
May 14, 2016

It may be a five-year-old interpretation of a 64-year-old movie classic, but there’s a very good reason why Jonathan Church’s Singin’ in the Rain remains a particularly relevant production for Australia’s present-day theatre circuit. The British director’s next appointment will be filling the very big shoes of Andrew Upton as the new artistic director of Sydney Theatre Company, and given Church’s pedigree with musical theatre – a genre he has championed passionately during his ten-year tenure leading the UK’s Chichester Festival Theatre – speculation that STC may join the in vogue bandwagon of major State theatre and opera companies presenting musicals is high. 

Church’s future vision for STC remains hearsay for the time being until his inaugural season as AD is announced later this year. Until then, Australian theatre-lovers can marvel at the high-gloss polish of his superb adaptation of arguably the most iconic movie musical of all time. 

The cast of Singin’ in the Rain

Best known for the joyous splish-splash fun of its title song, Singin’ in the Rain tells the story of Don Lockwood (Adam Garcia), a silent movie star at the height of his career. With the help of his best friend Cosmo Brown (Jack Chambers) and a talented young starlet Kathy Selden (Gretel Scarlett), Lockwood tries to enter the brave new world of the “talking picture.” 

On paper, the notion of taking MGM’s 1952 masterpiece, starring Gene Kelly, Donald O’Connor and Debbie Reynolds, and repackaging it for the theatre sounds like sacrilege. Not only is the stage medium woefully inanimate compared to the glorious technicolour and vibrant cinematography enshrined in the cinematic original, but replicating the chemistry of the movie’s three leads is a near impossible ask. Tommy Steele’s 1980’s attempt made an admirable case for the viability of a stage version of the film, but largely failed to adequately transcribe the ineffable charisma behind the tap-dancing and torrential downpours that make the film so irresistible. 

However, despite these challenges, Church has achieved something even more remarkable: a staging that is not only a hugely reverent homage to its screen-inspiration, but also a brilliantly inventive and individual accomplishment of its own. Equally surprising is the simplicity with which this feat is achieved. Church is rigorous in his control of the stage, with every entrance, exeunt and small, precisely calculated detail of the blocking, timed and executed with exquisite discipline. Replicating the perfection of the film is merely a matter of ensuring nothing less than that superlative quality on stage, it seems. 

Adam Garcia (centre) with the Singin’ in the Rain ensemble

Designer Simon Higlett places this production on a giant Hollywood soundstage, subtly suggesting a clever shift of perspective: are we, in fact, watching the filming of the original movie about the advent of talkies in the 1920s? This constant behind the scenes connection offers a remarkably pliant canvas for the action without the need for lengthy scene changes, allowing this live-action iteration to keep pace with the seamlessly slick transitions of the film. Populated by an exemplary 20-strong ensemble, this production is constantly dynamic without being overly fussy. Church offers all kinds of small, charming interactions throughout, so that right from the start, every second of this three-hour spectacle is packed with bright, buoyant, whip-smart energy. 

In fact, on every level the articulation of this show is impeccable. Andrew Wright’s choreography extracts much of the vital marrow from the film original but refuses to be bound to an exact replica, allowing his routines to soar in delightfully unexpected directions. Musical Director Adrian Kirk runs an equally tight operation, delivering a terrific performance from the show’s orchestra that preserves all the vim and clarity of the movie soundtrack. Tim Mitchell’s lighting masterfully guides our experience from the audacious pageantry of the big company numbers to the heartrending intimacy of the more touching encounters between Don and Kathy. 

Capturing the archetypal Hollywood aesthetic (just the right side of hammed-up), the principal cast are solid gold. Particularly noteworthy is Erika Heynatz as the arrogant, dim-witted silent movie megastar, Lina Lamont. She is a downright side-splitting villain, setting a new standard for annoying, screechy Brooklyn accents. 

(L-R) Jack Chambers, Gretel Scarlett and Adam Garcia

But of course, the linchpin of this show has to be its three leads, and Church has secured a trio who are almost flawless. Jack Chambers is astonishing as Cosmo Brown, able to switch on a knife edge from adorable clown to dance virtuoso, with top notch vocals and acting skills to boot. Gretel Scarlett’s Kathy Selden is luminous, combining a sweet, fresh-faced innocence with a potent sensuality that adds real heat to Selden’s blossoming romance with Lockwood.

Unquestionably the biggest box-office draw is Adam Garcia, whose celebrity adds star appeal to this Australian tour. Following in the tapdancing footsteps of Gene Kelly is no easy feat, and while Garcia’s dancing and acting are up to the task, his singing is conspicuously weaker than his colleagues. However, while Garcia may not be a triple threat, two and a half ain’t bad, and thanks to the world-class quality of the rest of this production, this foible is easily forgiven. Even the curtain call – a full company staging of the title song, complete with ample precipitation (front row patrons are advised to bring a rain poncho) – is a delight. From the first note to the last raindrop, this show is utter escapism at its most enchanting. 

Singin’ in the Rain is at Her Majesty’s Theatre, Melbourne until July 2, befor touring nationally.

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