Watching Roo Theatre's production of the Boy from Oz was like being reacquainted with an old friend as viewers are guaranteed to fall back in love with the music of visionary performer Peter Allen.
Audiences should not expect the spectacle of large-scale arena spectaculars as Roo's version returns to the show's musical roots.
This production allows the magic of Allen's lyrics and melodies to take precedence in telling the story and uses costume, dance and lighting to help the tale along.
I wasn't a fan of the silver airconditioning-like set piece that frames the stage but the rest of the set is highly effective. The painted piano keys on the floor and walls create a nice sense of continuity, reminding audiences that Allen always felt at home in front of the ivory keys.
Projected images screened on a white cloth bring the New York skyline and Sydney Harbour to the walls of Roo Theatre in a realistic way.
Director Gordon Streek's decision to hire the costumes from the original Boy from Oz production is a good one as the costuming really makes the show.
Allen's vibrant shirts clash horribly with the bland, simple outfits of residents in his hometown Armidale, helping to create the "fish out of water" existence of his childhood.
Judy Garland's sophisticated suits and Liza Minelli's chic dresses complement Allen's unique style.
Roo regular Adam Fisher's performance as Allen is solid.
Smartly, Fisher chooses not to mimic other portrayals and instead focuses on capturing Allen's humanity, bringing a realness to many of his popular numbers.
The performances of Jenny Catterall as Garland and Penny Dunn as Minelli are flawless.
Dunn is uncannily similar to Minelli with her pixie-like features and powerful voice while Catterall seamlessly showcases Garland's on-stage diva against her personal struggles.
The portrayal of Garland's death is one of the most touching points in the show and Streek's direction is faultless. She appears serenely behind a white cloth while Allen, Minelli and the ensemble look on from the stage.
Although a relative newcomer, Brett Johnson further cements his star quality in this production with his role as Greg, Allen's gay lover.
His rendition of I Honestly Love You is poignant and real and audiences at last Saturday's matinee could have heard a pin drop as he finished singing.
The role of Allen's mother is also well-played by Cathy Moses and her interpretation of Don't Cry Out Loud is a true show-stopper.
Musical director Josh Quigley has clearly worked incredibly hard with the performers and his efforts should be applauded - every song is filled with emotion and well-performed.
Special mention should be made of trio Karen, Shena and Linelle, played by Anne-Marie Fanning, Bethany Levy and Emily Thompson. Not only do they create beautiful harmonies, their individual numbers are pitch perfect and truly showcase their natural vocal talent.
Positioning the orchestra behind the stage is a good move and ensures the sound is not over-powering and supports the performers.
The production's choreography is clever, subtle and effective and works to the cast's strengths, utilising the flexibility of the ensemble and their credible stage presence.
The production is sleek and professional and audiences are guaranteed to leave humming bars of Tenterfield Saddler, wanting to celebrate Allen's creativity and musical diversity.
Starring: Adam Fisher, Jenny Catterall, Penny Dunn, Brett Johnson
Director: Gordon Streak
Until February 27:
Roo Theatre, Shellharbour Village
Tickets: $30 - $25
Bookings: 4297 2891
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