Spies are Forever - Spoiler Free Review

4 out of 5 stars

Playing until Saturday 10^th February.

The Australian Premiere of 'Spies Are Forever', presented by FUPAS, is a new musical originally staged at the NoHo Arts Center, NY in 2016. As such, it’s primarily known by those that are regular supporters of StarKid, and other works these students at the time had also been involved in. Outside of that, it’s unknown. Nonetheless, a tight backstage crew (Kudos Kiara Irvine and Diego Tovar Gallo) and a ridiculously funny onstage team took out opening night as if it was a James Bond villain – with a bang!

Four years after the death of his partner Owen, super spy Curt Mega struggles to return to his former glory, masking his grief & guilt with charisma & booze (and a terrible beard). But when the American Secret Service (A.S.S) uncovers a plot to rebuild the Nazi empire, Curt is thrust into the field to save the world once again. Equipped with a license to kill and the voice of an angel, Agent Mega must team up with a double-crossing Russian femme fatale, infiltrate opulent casinos, and outsmart an outrageous horde of villains from a black-market arms dealer to the Deadliest Man Alive. With shadowy Cold War politics & advanced technologies quickly changing the world of espionage, it’s time for Mega to face the music and ask himself: does a future exist for a suave gentleman spy anymore?

When you read “Contains themes of fascism, genocide, antisemitism, and homophobia with reference to death and torture”, in the program, one would expect a drama that faces these themes head that sends the audience home to reflect and reflect on their own lives – but that wasn’t this! Instead, we are witness to amazing comedic timing, and almost practically perfect characterisation that becomes a parody to the spy film genre! Directed by Jessie Chugg, Musically Directed by Jarrod Matulick, and Choreographed by Chloe Short, the cast of 13 worked well as an ensemble and gave the audience a thoroughly entertaining performance.

Jarrad Prest portrayed Curt Mega, a magnificent role to portray – one which was respectful to the many spy movies this musical is inspired by. Even the cruel task of singing underneath a beard mask without an operational mouth and being adequately heard wasn’t a battle Curt Mega was going to lose. The battle scars the audience is led to believe he is carrying is solidified as his background is explored in Act 2, and this is done well.

As Tatiana Slozhno, Olivia Tod was brilliant. Portraying the Russian spy that triple crossed everyone and came out on the good side in the end, Tod’s characterisation was on point throughout the entire production. The 2-hander between Tod and Prest, ‘Doing This’ was a highlight for this reviewer. Everything about that scene was brilliant. I look forward to seeing what the future holds for Tod.

Veronica Rogers, as Barb, was a breath of fresh air. All of Rogers’ moves were tight and sharp, and it sold the proficiency a medical scientist would have when working on important missions. Take this with the contrast of her crush on our leading man and the way Rogers portrays the awkwardness in the bubbly, bouncy character, and we have something that I hope many audiences will equally love. My favourite character.

The OTT characterisation from Sergio Santos, Dr Baron Von Nazi (‘’Not So Bad” was the jingle on the way home), Mrs Mega and Susan were comedic standouts for the entire audience, having us laughing throughout. These scenes are worth the ticket price on its own. There was something magickal about Tom Hodgkinson’s various ensemble characters always being in the way of other characters as a running joke throughout the plot.

Lucas Tennant’s portrayal of Owen Carvour was short but will be remembered. A highlight was the battle scene in Act 2 with the various weapons, including light sabers – because, why not? Without spoiling a key plot, there was room for Tennant and Dennis Broadby’s character ‘Deadliest Man Alive’ to have tightened up their mannerisms; but then from a spy’s point of view, he did the perfect job, so maybe that was the point. Broadby’s voice was unexpected, but enjoyable when he sang.

The A.S.S. Director, played by Summer Jolly, really was an ass of a character – so, well done! Jolly’s portrayal of Cynthia Houston was perfect in every way, in the way we see every spy agency director portrayed. Zoe Russell’s voice is phenomenal! As the lounge singer, it’s the first song we experience and sets the standard for the rest of the musical. Her vocals did not disappoint. Gwydion Rozitisolds’ portrayal of The Informant was pure comic relief – just because this musical needed even more of it. Their scenes in various disguises were brilliant. It’s the small things that leave audience member’s laughing in the aisles.

The various characters that were portrayed by a small ensemble – the Germans, the Russians, the Americans, the dancers, the lot – are a testament to how a solid team can work together to ensure there isn’t more than necessary, but still gives enough to sell the story. Director Chugg’s cameo as the Prince at the top of Act 2 was quirky… until they are no more.

The mood set by the 4-piece orchestra, which includes Jarrod Matulick, Colleen Szeto, Lochie Daniel, and Hamish Westbury as the audience entered and took their seats was delightful and soothing. The orchestral team was tight and well-sounded throughout the entire production.

While there were some technical issues with microphones and the balance in the sound between the actors and the orchestra, the venue is small enough to still hear what is going on if seated close enough.

Having only been founded in 2018, FUPAS has a lot of potential in upcoming productions. As a student-led society, I am impressed in the hard work and many hours individuals have dedicated to this production.

After experiencing 'Spies Are Forever', I urge anyone with a guilty pleasure for spy novels/ movies to get tickets before it’s too late!