Kismet

By Mark Kearney

Kismet

Baghdad is a city more synonymous with bombs than Broadway.

But it’s easy to forget that the now war-ravaged Iraqi capital is a city of ancient heritage, established some 1200 years ago. And it is in this sumptuous setting of bazaars, beggars, mosques and minarets that we find the golden age musical, ‘Kismet’.

The story follows a lowly street poet who, after a series of coincidences, rises to the rank of Emir – in just one day.

The Production Company, led by Chairman Jeanne Pratt, have made Kismet their second offering of 2011 after July’s ‘Anything Goes’.

Pratt has noted that Kismet is the most-requested show among The Production Company faithful.

This is somewhat surprising. Aside from its exotic setting, Kismet is a largely unremarkable show with a pretty yet forgettable score.

That aside, this is a beautiful and thoroughly entertaining production.

Minimalist sets are gorgeously crafted by Andrew Bellchambers. A variety of different-sized panels of Middle Eastern cut-outs perfectly evoke a sense of time and place. Drapery hung from the both sides of stage could be tents of a Silk Road caravan or the opulence of a harem; either way, it’s chic adornment to the stage.

Simplicity was not part of Costume Designer Kim Bishop’s brief. He has filled the stage with a glorious variety of outfits with few details spared. His palette of rich earthen hues is reminiscent of a Mesopotamian spice market.

Lighting by Trent Suidgeest is subtle and warm. Dominated by a tangerine-lit cyclorama for most of the show, his design brought a piece of Arabia to the Arts Centre!

Performances were uniformly strong, with each cast member mastering the vocal challenges presented by this almost-operetta.

As the poet Hajj, Gary Rowley is a strong anchor for the show’s dramatic arc, his baritone voice navigating Wright and Forrest’s score smoothly.

His onstage daughter is played by relative newcomer Janet Todd. She doesn’t miss a beat. As Marsinah, she’s spritely and wide-eyed with a gorgeous soprano voice at her disposal.

Mitchell Butel has crafted an excellent characterisation as Wazir, Chief of Police. His physical and vocal affectations were spot-on.

Similarly, Chelsea Plumley’s Lalume is a fierce femme fatale, all legs and innuendo. The soaring conclusion to ‘Not Since Ninevah’ was among the night’s highlights.

Fresh from his turn as Tony in ‘West Side Story’, Josh Piterman is a dashing Caliph and his voice fits well alongside Todd.

This cast was led with aplomb by near immaculate direction and choreography, thanks to Terence O’Connell and Alana Scanlan respectively.

The choreography in particular was – without exaggeration - world class. Highlights included ‘Was I Wazir?’, ‘Ababu Dance I’ and ‘Zubbediya’. All were athletic, daring and exhilarating to watch.

Pratt and her team should be congratulated on staging a production of such high quality.

Considering how The Production Company works (three shows in five months with just a few weeks rehearsal for each) one could excuse a hiccup or two. But you’ll be hard pressed to find one in ‘Kismet’.