A Funny Thing Happened on the Way to the Forum - SA Light Opera Society Review

Image Credit: MTI Australasia

A Funny Thing Happened on the Way to the Forum - 6 stars out of 10
SA Light Opera Society

A Night of Mindless, Joyous Laughs - TICKETS HERE

A Funny Thing Happened on the Way to the Forum is a 1962 Stephen Sondheim musical with book by Burt Shevelove and Larry Gelbart. The story is set on a street in ancient Rome outside three adjacent houses. Its main character, Pseudolus, is a crafty, quick-witted slave who desperately wants his freedom. Hero, his young master, is infatuated with Philia, a beautiful but simple young courtesan. Pseudolus promises to help Hero win Philia’s love in exchange for his own freedom. What follows is a whirlwind of misadventures featuring trickery, mistaken identities, disguises, slamming doors, and wild chases, all echoing the ancient Roman comedies of Plautus.

The production, helmed by Harry Dewar (Director), Kate White (Musical Director) and Cherylene O’Brien (Choreographer), unites a cast of varying experience into a lively, memorable staging at the Tower Arts Theatre.

Terry Crowe anchors the performance as Pseudolus — equal parts quick-witted schemer and charming rogue. He carries much of his scenes with his comedic timing and encouraged fourth wall breaking. Crowe also doubles as Prologus, delivering us… you guessed it! - the prologue… If you weren’t sure what you’re in for with this production, you get a keen sense of the idea by the end of Crowe’s opening number: Comedy Tonight.

Josh Van’t Padje’s Hysterium, the household’s stressed overseer, is a delight. Constantly caught up in Pseudolus’ chaos, Van’t Padje throws himself into the role, most notably when forced into a “Juliet” death and a near kiss with the antagonist. His performance suggests strong potential for future roles.

Peter Dewar as Senex, husband to Domina, father of Hero, who finds himself in all sorts of humorous situations due to some misunderstandings along the way, has a soft voice that was often lost, which was unfortunate because many of the parts that were heard were quite funny. Dewar has excellent comedic timing, and like Crowe, isn’t afraid to interact with the audience, breaking the fourth wall.

Aled Proeve brings an entertaining sleaziness to Marcus Lycus, the opportunistic brothel owner. His consistently strong projection and distinctive choices give the character presence, making him memorable among the chaos.

Carmine Clarke brings sharp-tongued dynamism to Domina, the commanding wife of Senex. Her solo That Dirty Old Man blends suspicion with enduring affection toward her husband. While there were a few memory slips on the night, Clarke’s operatic voice impressed, and it would be exciting to see her in a SALOS operetta.

Zachary Baseby is Hero - the young, idealistic son of Senex and Domina, and his story revolves around the romantic pursuit of Philia, a young virgin courtesan from the house of Lycus. Baseby has a solid voice for both song and word and excelled in selling the audience his story. The duet, “Free” between Pseudolus and Hero was a fun number in Act One.

Olivia Tod’s innocent, beautiful – and a little dim – Philia, doesn’t get as much stage time, but when she appears, Tod commits to the sweetness of the role, being consistent in her character choices. Her Lovely (Act One) and That’ll Show Him (Act Two) are charming, both suiting her voice well and pairing nicely with Baseby’s Hero.

As the larger-than-life soldier Miles Gloriosus, James Hanna is perfectly cast. Handsome, boastful, and commanding — like a Roman Gaston — he owns the stage with a mix of arrogance and physical theatre. For all the right reasons, Hanna is a standout from start to finish.

John Broadley as Erronius, the hapless old man searching for his long-lost children, has limited stage time but wins over the audience quickly. His reappearances, counting his laps around the Roman hills, and even sneaking in a Sound of Music gag, offer reliably funny moments.

As Proteans, Torin Hill, Vin Fameli, Sue Whittaker, and Sandra Fameli show great versatility, seamlessly switching between various roles — such as Roman citizens, slaves, and soldiers — enhancing the chaotic and farcical nature of this comedy. Hill and Famelli’s guards for Miles Gloriosus were fun characters to observe.

The courtesans — Sage Jeffery (Tintinabula), Wendy Williams (Pancea), Kirsty Radestock & Cherylene O’Brien (Geminae twins), Alice Campagna (Vibrata), and Emma Dredge (Gymnasia) — each bring individual flair. Choreographic precision varied, but costumes ensured they were visually distinct. Creative choices in The House of Marcus Lycus number sit awkwardly with a modern audience — a reminder that some content reflects the sensibilities of 60+ years ago.

This production isn’t flawless. Some orchestral balance issues undermined certain performers’ lines, but that’s the risk in not having access to microphones, and the overall polish could be improved on and off stage. But farce demands big choices, and here the creative liberties — even the controversial ones — lean into the genre’s absurdity. The humour won’t land for every viewer, particularly where time has dated certain jokes and portrayals. Still, if you approach it in the spirit intended — leaving your brain “in the car” — it delivers what it promises: a night of mindless, joyous laughs. Just leave the kids at home for this one.

- Andrew Broadbent