MIRACLE CITY was first produced in Sydney in 1996 and after brief, bright flame of 4 weeks flickered out as the creative forces behind it moved on. Written by the late Nick Enright with music from Max Lambert (who is Musical Director for this production), the original director was Gale Edwards. Did I see Edwards and original cast member Genevieve Lemon in the crowd tonight? This production was spoken of in legendary terms yet it was interesting to note there were plenty of excitable tweets coming from opening night audience members repeating the precept that MIRACLE CITY was previously ‘undiscovered’.
Offering this production up for fresh discovery is Darren Yap, directing again after a sell-out season at Hayes Theatre in October 2014. He worked as Enright’s assistant in 1997 when a modified version was produced for WAAPA.
Credibility galore so far. Add to this line-up, a stellar cast, high production values, uniform excellence in the voices and you have a show which is sure to please.
It is the 1990s at the height of the Televangelist craze that will come crashing down as scandals and swindles come to light. MIRACLE CITY plays out in real time as the Truswells, a family of faith, prepare and present their live-to-air “Ministry of Miracles”. Father Ricky, Mother Lora Lee, 16 year old daughter Loretta and younger son Ricky-Bob are excited that prestigious pastor Millard Sizemore is their guest on today’s show.
Ricky is especially enthusiastic as he hopes to form an alliance with the more successful preacher. An alliance that would see the family’s dreams for a Christian amusement park, Miracle City, resurrected from the debt ridden doldrums in which it lies. Sizemore is not an easy mark though, he has a single request. On the surface, it’s an unthinkable request but God works in mysterious ways for the unscrupulous with no other option.
Ricky is played by Gus Murray. A self-confessed former blaspheming, fornicating low life, Ricky is handsome and tall … exactly what his TV audience requires of him. He has a very telling opening sermon. In some clever character work, Murray gives us the warm engaging salesman as Ricky tells a joke to the viewing audience. Then, as he launches into the real deal, he assigns his character the perfect veneer of projected empathy. It makes Ricky’s fall from grace much more believable than it might be.
There are some hilarious interjections over this mea culpa proselytising. The best coming from his loving wife, Lora Lee, played by Kellie Rode. Lora has a wide “best brightest truest sugar smile” and a voice rich with belief. I really enjoyed her heart to heart scene with Bonnie May where Rode makes it very clear that the belief is genuine, even if the expression of it is hard to swallow.
Missy Higgins is Bonnie May in this, her first musical role and she is terrific. She has a show stopper of a number half way through the show (‘I’ll Hold On’) and a director of Yap’s experience knows when not to interfere with pure talent. A spotlight, a rich blue backlight and a mic to stand at is all that is required. It deserved a standing ovation but opening night crowds are notoriously cautious.
Higgins also has a juicy acting role in Bonnie May and she handles this well. Bonnie May is part of Miracle Ministry’s Citadel Singers and I just loved the work of all three women. There was such a strong rapport between them, they were a team, comforting each other, supportive and encouraging. Truthful and loving and each other’s equal. As Charlene Josie Lane has a real star quality and Lara Mulcahy is sassy and has spiritual low notes to die for in the TV program’s opening number. They are just great to watch.
The bad guy of the piece, irredeemable and venial, is Millard Sizemore played with ponderous arrogance and suitable creepiness by Anthony Phelan. His revoltingly hypocritical final sermon is perfectly pitched to avoid offence and maximise the duplicity of the views expressed. Earnestly sweet, Loretta, played by Jessica Vickers, is entirely is his foil. Black versus white. Vickers convincingly conveys the virginal, faith-blinded young woman and there is a recriminatory scene with her mother that puts her disturbing naivety into perspective.
It’s a delicate balance that sees Director Darren Yap put the human story to the forefront while not ignoring the comedy or taking the production too far into darkness. Yap has made the tropes of tele-evangelism palatable by allowing an audience their own critique of brainwashing, grooming and the mass marketing of wish fulfilment. Similarly he has allowed the audience a secular kind of comedy. There are several big laughs and plenty of smaller moments to tune in to.
Further, Yap has used the venue with style. An easy set, detailed and evocative and some amusing entrances through the audience. Screens with very professionally created and apposite images. Kelley Abbey’s choreography is excellent from the tambourine halos to the ecclesiastical hand-mimes of ‘I’m In Your Hands’.
MIRACLE CITY has great music. Toe tappers to hoedowns, the songs have that honeyed blend of country, folk and down home Spiritual. I swear my hand was rising during ‘Share the Load’ and ‘Raise the Roof’. For the latter, the Citadel Singers are in a lovely shade of purple with silver down their surplices and they look just fantastic. All the women’s costumes are delightful… colourful and characterful. And the audio mix also deserves a mention for that number too. It was outstanding all night but these songs, in particular, were spectacularly well blended. Great use of the visible, above set band and the musical direction from Max Lambert. From the inspired injection of glory bound martial organ in ‘To Arms’ to inspirational underplaying behind the finale.
While confessing to be one of aforementioned cautious, it’s obvious that MIRACLE CITY will do very well. Impeccable pedigree and execution. If there were a few things that I missed from last time I saw it: the evangelism that made me ready to put coins in the plate and the breathtaking concept for Lora Lee’s deconstruction, my friend and all the people around us loved this production. It’s a fun, polished, entertaining ninety minutes with a powerful climax and thought provoking take-away.
MIRACLE CITY continues at the Studio, Sydney Opera House until 29 October.