How to Succeed in Business without Really Trying - 5 out of 5 stars
Pulteney Grammar School
TICKETS: https://events.humanitix.com/how-to-succeed
Pulteney
Grammar School’s How to Succeed in Business without Really Trying is a smash
hit!
The story
follows J. Pierrepont Finch, a window washer who discovers a self-help book and
uses its advice to rapidly climb the corporate ladder at World Wide Wicket
Company. Along the way, Finch cleverly navigates office politics, impresses
company president J.B. Biggley, and competes with the arrogant Bud Frump (also
Biggley’s nephew), who believes he deserves promotion through nepotism rather
than talent. Finch develops a romance with Rosemary Pilkington, a secretary who
dreams of a life with him, even as Finch becomes increasingly consumed by
success.
Director Jo
Casson notes that working with Pulteney is always one of her highlights of her
year. If one’s highlights measure their success, we would be on par with the
success of this production, pulled together by Casson and her team. Her vision,
unveiled on the stage in Newton, is sensational to say the least.
Working
alongside Casson is Musical Director Jonathon Rice, Vocal Director Katia Labozzetta, and Choreographer Rosanna Dobré. Rice’s orchestra –
which includes 5 students didn’t miss a beat and are consistently in tune throughout
the catchy orchestration. Labozzetta’s vocal work with this many students
results in the confidence in everyone’s performance seemingly effortless.
Dobré’s
choreography stunned, amazed, and wowed. The choreography within this
production feels like the cast are pushed to new limits, potentially unlocking
skills they might not know they have. Dobré’s 17-strong dance troupe worked concurrently
through their dance numbers, never losing energy or momentum. Shout out to the
tap number in Yo Ho Ho! Synchronised, energetic and fun!
Leading the
cast is Patrick Longden as the strikingly charismatic J. Pierrepont Finch. From
the opening moments, his charm explodes throughout the theatre and never eases –
no matter how much sweat is on his brow. His acting, dancing and vocal
abilities make him a strong triple-threat and reassuring for the future of
Adelaide’s community theatre scene.
Nektaria
Mavragelos crafts a beautifully sincere Rosemary Pilkington whose devotion to
Finch never feels one‑note or naive. She balances romantic idealism with a
quiet intelligence, letting us see a young woman who understands the
absurdities of office life yet dares to dream of something better. Her exceptional
vocals and gentle, grounded presence give Rosemary’s moments real emotional
weight, ensuring every time she steps into the spotlight, the heart of the show
beats just a little louder.
Keira Wubbolts owns the stage every time she sweeps into the
office, delivering a delightfully bold Hedy La Rue whose presence turns every
scene a shade more dangerous. Wubbolts’ confident vocals and a bold physicality
that never wavers leans fully into the show’s farce while maintaining a sly
control over the chaos around her.
Henry Green commands the stage as J. B. Biggley, the company
president whose bravado is constantly undercut by his secrets… and his wife. He
balances pomposity and panic with ease, moving from barking orders to lovesick
confusion in a heartbeat, keeping the audience on side even at his most
outrageous. His vocal presence and assured comic instincts make Biggley a joy
to watch unravel.
Henry Tran brings a superb energy to Bud Frump, mining every
opportunity for physical comedy without ever losing Bud’s calculating edge.
Vocally and dramatically, Tran matches wits with Finch at every turn, making
their rivalry one of the production’s most satisfying running gags. Tran’s
dance skills are rightfully showcased in this production alongside the dance
troupe.
Polly Schubert shines as Smitty, grounding the office
madness with wry humour and a knowing twinkle. Her quick‑fire delivery and stage
presence make her feel like the audience’s confidante inside the play. When
given musical and emotional moments to step forward, Schubert seizes them with
warmth and confidence, elevating Smitty from sidekick to essential heartbeat of
the office.
As the stern personnel man Bratt, Billy Rowan is another standout,
bringing a crisp authority that anchors the corporate environment from the
moment she appears. Bratt relishes the no‑nonsense rules and regulations, yet Rowan
allows enough exasperation and disbelief to peek through, keeping the role
deliciously comic. Her clear diction, strong projection and upright physicality
make Bratt a convincing gatekeeper to the company’s ladder of success.
Michaela Lazarevic gives Miss Krumholtz a poised presence.
She threads a fine line between icy professionalism and conspiratorial
amusement. In musical and ensemble moments she commits fully, adding vocal
strength and character detail that enrich every scene she enters.
Scarlett Lamb as Miss Jones, initially presents a steely
efficiency that makes her seem utterly unshakeable. As the show unfolds, she
reveals surprising flashes of humour, particularly in Brotherhood of Man,
which she attacks with scat power. Her commanding vocal tone and precise
character work turns Miss Jones into an unexpected scene‑stealer.
As the ever‑present Book, Lily Mackereth voice-over provides
a quietly compelling narrative thread that guides both Finch and the audience
through the corporate maze. She has a calm assurance, treating each ‘appearance’
like a mischievous nudge of destiny rather than a simple prop.
Supporting the principal cast is a vibrant ensemble of more than 50 students, each bringing energy, personality and commitment to their many, many featured moments. It is easy to imagine many of these young performers stepping into leading roles in their high school years and, in time, becoming regular faces in Adelaide’s community theatre scene.
Representing
the 1960’s are the costumes! Coordinated by Jacqui Harrington alongside a team
of 20 volunteers. Together, they create an array of era-related costumes that
give each student’s character individualism while maintaining a cohesive visual
look of the production.
The Digital
Media and Design by Richard Austin looks amazing against the set constructed by
Inset Creative and the execution is flawless. As much as the scene changes were
smooth in execution, the sets and props were a bit excessive, making these scene
changes lean on the longer side at times.
Despite a
short season, this production is one not to miss – if you haven’t already got
tickets, you’re playing with fire...
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