Miracle City

This was brilliant
Here's my Artshub review


http://performing.artshub.com.au/news-article/reviews/performing-arts/lynne-lancaster/miracle-city-254618

A fabulous Australian musical

Photo credit: Branco Gaica 

This sleek, highly sophisticated production, while set in America and analysing and satirising televangelism, was written by two Australians in top form – Nick  Enright and Max Lambert. In 1996 the Sydney Theatre Company premiered it to a rapturous reception and more recently it was seen at the Hayes in 2014, where Darren Yap (who directs this current production) also was at the helm. Enright’s book and lyrics are sensational, punchy and witty; Lambert’s score is gospel driven yet with flavours of folk, country and soul.

Set in real time in the mid 1990’s, backstage at a evangelistic television show, superficially it is full of squeaky clean American WASP values but the hidden cracks are soon revealed. The Truswells (inspired by Jimmy and Tammy Faye Bakker) are hosting another episode of their morning TV ministry: Ministry of Miracles. The problem is, Ricky is deeply in debt, having sunk the family’s funds into Miracle City – a biblical theme park, where “first you pray and then you play”. A lifeline appears to come in the form of the much older and wealthier preacher Millard Sizemore (Anthony Phelan), who was once Ricky’s mentor, but Sizemore is not entirely what he seems, and wants something terrible in return for his financial support. Ricky and Lora Lee have to decide extremely fast.

With James Browne’s economical and thoughtful revolving set design, taking us backstage at a studio recording, with applause signs and various TV monitors, we are treated to the contrast between the highly polished, artificial, on-stage presentation and the tensions sharply rising backstage. In some ways Miracle City is perhaps an ‘anti musical', working in reverse: the songs happen despite the action, or ironically in counterpoint to the action, rather than further developing or analysing it.

Under Yap’s assured direction the fine ensemble give a superb performance. As Ricky Truswell, Gus Murray with his cheesy, pearly grin, is charismatic yet troubled. Has he traded faith for power and ambition ? He loves his family yet is having a major crisis of faith – can he meet his debts? Should he stay in the marriage? Murray portrays him as a torn man who cracks.

As Lora Lee Truswell, Ricky’s wife and muse, Kellie Rode is sensational in a dynamite performance. She has an immaculate façade with glorious costumes, a fabulous voice and a winsome smile, is consistently positive, but  anxiously teeters on a knife edge of despair. Her performance at the production's conclusion is shattering.

Imposing, strict and somewhat creepy and predatory the grizzled Rev. Millard Sizemore, Ricky’s mentor, is tremendously played by Anthony Phelan. Will he support Ricky? Will he really marry Loretta ? A hardline Pentecostal religious extremist, his signature hymn favours the bloodthirsty Church Militant rather than the glory and beauty of faith that comes from the Truswell ministry. Sizewell , manipulative and pernicious, is  anti-gay, anti-choice, anti-Palestine, pro-war and scary. His kind have become more visible now than ever before.

Josie Lane, Lara Mulcahy and Missy Higgins give fine, rousing performances as the ‘Citadel Singers’ (Bonnie May, Charlene and Eulella). Their music is mostly ‘hot gospel’ that has the audience bopping along. Missy Higgins as Bonnie May stops the show however with her poignant, heartbreaking I’ll Hold On; an incredibly powerful moment.

Young, innocent Loretta, Ricky and Lora Lee’s daughter, is played in a strong performance by Jessica Vickers. She stands up for herself, searching for her own identity, upstages little brother Ricky-Bob (the part is shared between Finn Bradley and Louis Fontaine) yet makes a potentially disastrous decision.

Miracle City is mainly about the differences between reality and power play, and the bright superficiality of organised religion that seduces billions of people around the world. It is clever, delicate and piercing, has some tumultuous and joyous moments and is relentlessly plot driven. With the widespread revelation of horrific abuses in religious organisations, and in this era of Trumps and Weinsteins, the issues raised by Miracle City are powerfully relevant right now.

4 ½ stars out of 5

Miracle City
Presented by Sydney Opera House in association with The Theatre Division
By Max Lambert and Nick Enright
Directed by Darren Yap
Running time: 90 mins no interval

The Studio, Sydney Opera House
12-28 October 2017