It appears that many of us want an “Inner West state of mind”. This is spectacularly demonstrated in one of the best Raves in town, Inner INNER WEST SIDE:THE MUSICAL. This UltraCult production is currently showing as part of the Sydney Fringe Festival.
Though based in Sydney’s North Shore and Inner West, the story is more universally one of pretence, pretending to be someone you’re not. Andrea (Laura McDonald) a North Shore runaway chases the dream of becoming Newtown ‘cool’, whilst incidentally studying her Arts Degree. Naturally her allowance is cut by her wealthy parents, yet it remains well above any funding the locals may receive which they have to top up by working.
Her privileged background appears to drive her to rise to the top of any group she encounters so she quickly sets her sights on dethroning the incumbent Queen of Rave parties, Monica (Elouise Eftos).
The audience is switched on immediately by the colour, costumes and choreography. The commitment, skill and energy of this multi-talented 15 member cast is admirable. With strong female characters with powerful voices, this musical theatre is underpinned by all-original Aussie indie garage rock and Triple J music, played well by a live band. A few minor sound amplification issues seemed to diminish the show for those moments.
The housemate interview process shows the diversity of the Inner West in contrast to the North Shore girl scene. The bad slam poetry is endearing. The Inner West scene is replete with op shopping, left wing politics, crystals and coffee.
We are abruptly swept off our feet with the Andi’s / Andrea’s Barista fantasy happening on stage. This fall from grace is reminiscent of Kylie and other young female pop stars losing their ‘nice girl next door’ image. It is hot and steamy. The weak puns in the lyrics remind us that perhaps they aren’t all that sophisticated.
The loss of naivety is also reflected through the costume change during Monica’s rave party, as Andrea enters wearing a wedding dress and white boots. We find that the incumbent queen, Monica, is also not from the Inner West either as class is reinforced.
By Act 2 Andrea has taken over the running of the Rave party, having dumped her barista boyfriend. His love song and tap dance accompanied by his mates was a definite audience highlight. It’s a plaintive call from the emotional male, Dan (Gautier Pavlovic-Hobba). Monica vents her anger in a showgirl song revealing her origins. This prompts our truly crystal left wing Inner West spirit, Freya (Britt Ferry). She tries to put things in perspective against world events.
Andrea finds herself ‘alone in Camperdown’. Changing the pace and style of the show, she is visited by a conscience in a white flowing dress. Andrea reflects on her motives and morals. The audience’s focus is pulled between Andrea and her conscience, Ella (Ruby Teys) as the conscience whirls around dancing whilst Andrea speaks.
The staging sent a clear not too grungy message, with fine detail of graffiti and news and posters giving details of rave parties adding to the authenticity of this musical. Special credit to Set Designer Anthony Robinson. Postcode 2042 is the place to hang out, or is it? Is there an “entrenched class system for a reason”?
The show has stunningly good music by Tom Cardy, lyrics by Lucille MacKellar with Madeleine Johnston & Jake Bayssari. The costume design (Adrienne Dell) is wonderful though I suspect that Inner West op shops may have made her task easier.
As Director Jake Bayssari identifies “spring boarding out of WAAPA and straight into Fringe, our company is chock-a-block with up-and-coming talent to watch:” From the opening night, I give special mention to:
Laura MacDonald as Andi ~ WAAPA (2017), for sustained good vocal and theatrical performance.
Rihanna McCourt as Lana, Andrea’s entrée into Newtown~ WAAPA (2017), for endearing the audience to the most understanding and empathic authentic character.
Gautier Pavlovic-Hoppa as Dan ~ NIDA (2016) for his roguishly lovable emotional feminist barista portrayal.
This is UltraCult’s debut show and though the musical is based in Sydney, and is proudly Australian, its messages are universal and I hope that wider audiences get to appreciate it with all its joyful energy and humour. The combination of colour, costume and choreography (Madeleine Johnston) lifts the musical spirit. As Assistant Director as well, Maddie “can’t wait to hear people humming the songs on the street”. Let’s hope that it is much further afield than Sydney’s Inner West.
INNER WEST SIDE: THE MUSICAL [Facebook] plays until 22nd of September at the Reginald Theatre, Seymour Centre as part of The Sydney Fringe Festival.
