Broadway Babies

Broadway Babies is the latest variety show from the Willoughby Theatre Company (formerly Willoughby Musical Society) and it is a concert with a twist and a clue in the title: everyone involved, both on stage, creatively and technically, are under 30.

Variety has long been a staple of amateur musical societies and for good reason, the eyes can be picked out of any number of shows to suit the talent on hand, giving talented performers coming through the amateur ranks the chance to perform solo. (We’re reminded during this concert that Hugh Jackman started on the Willoughby stage!). And, given the relatively small overheads compared to a full-scale show, can often generate quite a bit of profit, helping to make up for the last blockbuster that didn’t.

Broadway Babies takes most of its material from newer musicals (including Lion King, Spamalot, Seussical, Scarlet Pimpernel, Steel Pier and Little Women) providing a showcase for young performers who obviously don’t intend doing this kind of thing in their spare time. This level of amateur theatre is clearly a fertile breeding ground for the next generation of musical theatre performers.

Ironically, however, the problem with this show is a lack of variety. To keep an audience engaged there has to be more to it than a procession of solo singers each singing the same type of song. Although broken up by group numbers, trios, quartets and the odd ‘kooky’ number, it made an already lengthy running time of approximately two and a half hours (with intermission) seem even longer. Most of the songs were chosen by the performers and the show would have benefited from being shaped rather than allow each singer to pick a ballad, any ballad and emote.

On the whole, the performances in Broadway Babies were excellent. Geoffrey Castles’ musical direction was on the money, ensuring that the strengths of each singer were highlighted, director Luke Davis’ hosting was slick and Stefanie Raymond’s choreography provided a welcome change from the steady stream of ‘stand and deliver’ songs.

An odd and distracting choice was the projected images behind each of the performers (sunsets, roses etc). At times they drew too much attention away from the performer, particularly when they showed up complete with the watermark of the photo agency where they were “borrowed” from. They were unnecessary and really took the polish off things.

Those quibbles aside, Broadway Babies demonstrated the depth of talent and commitment available to amateur societies, which makes their shows appealing to a wide audience.