‘The Best of Broadway’ // QuidPro Co
‘The Best of Broadway’ was exceptional.
For many diehard Broadway fans, musicals capture our hearts and minds. They take us to places where we feel alive, understood, and prepared to risk everything. The songs of the great musicals capture our hopes, dreams, fears and vulnerabilities. They are the touchstones that we return to for comfort, inspiration, wisdom and energy. And that’s how I felt after seeing QuidPro Co’s ‘The Best of Broadway’ – a little more reflective, a little more inspired, a little more… alive.
‘Being Alive,’ of course, was a musical number by Stephen Sondheim, whose recent passing was recognised in the show. Henry Kafoa, who spoke with Theatre Haus recently, gave a great rendition of that song, and the entire cast was joined on stage by a choir of 30 young people from the Harvest Rain Talent Academy and the Brisbane Academy of Musical Theatre, singing ‘No One is Alone/Children will Listen.’ Seeing the young singers join the accomplished performers onstage was poetic and inspirational.
There are four vocalists in this show, as well as a vocalist/accompanist. Each of them had moments that showcased sublime talents. During her incredible performance of ‘Memory’ from Cats, I found myself thinking that Kayleigh Harven had many of the vocal qualities, and stage presence, of a young Sarah Brightman. After the show, I read her bio in the program and saw that she had been cast in Opera Australia’s production of ‘The Phantom of the Opera’. It did not surprise me at all. She has that “star” quality.
In fact, there were times during the show when I saw star qualities in all of the performers. Jessica Papst gave such a wonderful performance of ‘There’s No Business Like Show Business’ that I imagined her in other roles made famous by Ethel Merman or Doris Day. By the end of the night, I could see her in contemplative roles requiring singers who can belt (think ‘Let it go’ from ‘Frozen’). She has real power in her voice.
During a performance of hits from ‘Les Miserables’, I imagined what Kafoa would sound like in 20 years’ time, playing leading man roles such as Jean Valjean. His stage presence and affect reminded me, in some ways, of Anthony Warlow… which is quite a compliment.
Cristian Robba-Colley reminded me of a young Simon Gallagher, winning the audience as he crooned early Broadway hits. But he also displayed many other aspects of his vocal qualities throughout the show – enough to make me think, maybe he will be famous one day.
As the piano accompanist (and music director), Dennett Hudson did a fine job. But he added an extra dimension to the enjoyment when he sang and played his own three-minute pastiche of hits from musicals that we all know and love. Dennett doesn’t steal the show… but he certainly makes it.
In its current form, the show starts with Dennett playing a piano overture without any audience engagement. I think this was a missed opportunity – it robbed the audience of an early chance to interact with a key (and charming) member of the cast.
As would be expected, Director Tim O’Connor has let the quality of the music and singers be the focus of the show. There are no fancy special effects – essentially the show is a concert in front of a large sign which reads ‘The Best of Broadway.’ The excellent sound design by John Taylor means that all the voices can be clearly heard – even when there are four distinct vocal parts and when the soloists are backed by the choir.
It’s always debatable which songs to include in the Broadway canon, but I personally would like to see female and non-white composers and lyricists recognised more (there were hardly any in this show).
But I don’t want to end on a sour note.
As I said at the start of this review, this show was inspirational. It made me wonder about the incredible future work these performers will create. And it reminded me of why I love musicals.
‘The Best of Broadway’ performs until Sunday, 12 December 2021 at Hayward Street Studios. For more information, visit the website here.
Photography by Let Me Wander Photography.
