Vanities: The Musical
Farrago Ink. Presents
TICKETS: https://www.trybooking.com/events/landing/1519579
This review is written based on what was experienced at the final dress rehearsal.
Farrago Ink’s debut musical production, Vanities: The Musical, traces the evolving friendship of Kathy, Joanne, and Mary across three decades of American social and cultural change. Beginning in their Texas high school years, the narrative moves into their college experience during the Vietnam War, into adulthood, and finally to a reflective reunion, years later. Each era captures not only the external pressures of the time, but the internal shifts within the three women as their lives separate and reconnect. At its heart, this is a study of friendship: how it grows, fractures, and endures, offering audiences a relatable reflection on the idea that friends can become family.
From the moment the audience enters, Kathy, Joanne, and Mary
are already present at their vanities, preparing themselves to travel back to 1963.
These vanities serve as a constant throughout the production, acting as neutral
spaces where the characters transition between scenes and decades. The staging
is minimal, consisting of three vanities and two costume racks, filled with outfits,
allowing the storytelling and performances to take centre stage, with costume
changes occurring in full view of the audience, accompanied by instrumental
interludes from the band.
Positioned behind flats at the rear of the stage, the
five-piece band remains largely unseen, yet shape the production’s atmosphere.
The orchestration is engaging and catchy, with subtle nods to familiar musical
theatre styles that lend a sense of nostalgia. While the band performs strongly
overall, there are moments, most notably in “Fly Into the Future”, where the
drum overpowers the vocals, becoming difficult to fully appreciate the
performers’ work.
Under the co-direction of Rachel Lee and Maria Davis, the
production demonstrates a clear and cohesive vision. The pacing of the piece, which
needs tightening, allows the emotional arcs of the characters to unfold with
clarity. Scene transitions are handled swiftly, maintaining narrative
continuity while reinforcing the central motif of reflection and
self-examination.
Rachel Lee’s choreography is a standout feature,
characterised by its precision and intention. The routines are thoughtfully
constructed and well-suited to the actresses and their respective stages of
life. At this stage of the production, some numbers would benefit from
increased confidence and energy in execution, but the groundwork is complete.
With continued performance, these moments are likely to settle into a smoother
and more dynamic rhythm.
The vocal work across the ensemble reflects the guidance of
vocal coach Jemimah Lanyon, evident in the consistency and strength of the
performances. Accents, rooted in the Texan setting of the musical, are largely
well-maintained across both dialogue and song, adding authenticity.
Lee’s contribution extends far beyond her roles as
co-director and choreographer. Taking on additional responsibilities including
costume coordination, co-design of stage and lighting alongside Davis, set
construction, props management, and stage management, her dedication is nothing
short of committed.
The youthful backstage crew, whose efficiency and
professionalism underpin the smooth running of the performance, deserve
recognition. Moving swiftly within scene changes, they maintain a constant
awareness of the production’s needs. Among them, Max—experiencing backstage
work for the first time—stands out for her remarkable expediency, embodying the
next generation of theatre practitioners.
Having viewed 2 performances at the final dress rehearsal to
ensure coverage of the rotating cast, it is evident that each performer brings
a unique interpretation to their role while maintaining strong ensemble
cohesion. Kate White’s portrayal of Kathy is anchored by a powerful and
controlled vocal performance, complemented by an ability to convey emotional
depth as the character matures.
Tammy Shields demonstrates impressive versatility, first as
Joanne in one cast and as Mary in the other cast. Her ability to differentiate
these roles vocally and physically, highlights a strong understanding of
character and narrative. Tammy Shields as Mary, provides emotional continuity,
reinforcing the long-term consequences of the characters’ shared experiences.
Katie Evans brings warmth and sincerity to Mary,
contributing to the early dynamic of the trio with a grounded and relatable
presence.
In the second cast, Jen McGaffin’s Kathy offers a portrayal
that reflects the character’s growth while maintaining continuity. Lisa
Norman’s Joanne presents a nuanced and considered performance; greater
engagement with the audience, particularly through more consistent eye contact,
would strengthen the connection and enhance the impact of her scenes.
Technically, the production is solid but would benefit from
refinement. Lighting cues are occasionally slow to execute, and the accuracy of
the spotlight can be inconsistent, at times detracting from key moments of
focus. Balancing the sound between the band and the cast requires adjustment to
ensure vocals remain clear and prominent. Additionally, the opening voiceover
and the principal’s announcements are delivered at a volume that may be
insufficient for larger audiences, risking the loss of important narrative
context.
Pacing presents an opportunity for improvement. While the
current runtime is approximately one hour per Act, there are moments where scenes
can be tightened to maintain momentum and sharpen the overall flow of the
piece. Scenes in Act 2 depicting heightened excitement occasionally result in
excessive microphone volume, which could be moderated for audience comfort
without diminishing the energy of the performances.
It is also worth noting that Vanities: The Musical contains
a range of mature themes, including references to self-harm, violence, coarse
language, and sexual content. These elements are woven into the narrative with
purpose, reflecting the complexities of the characters’ lives. The inclusion of
clear content warnings, either in the foyer or as a pre-show announcement, would
provide audiences with the opportunity to engage with the material with
informed awareness.
Farrago Ink’s first musical production stands as a
commendable and promising achievement. The final dress rehearsal already
reflects a strong foundation, with clear potential for further refinement as performances
begin. Its exploration of friendship, identity, and the passage of time
resonates on a personal level, inviting audiences to reflect on their own
relationships and shared histories. In this way, Vanities: The Musical succeeds
not only as a performance, but as a meaningful and engaging theatrical
experience.
- Andrew Broadbent
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