Reviewed by Terry Mountstephen
The Adelaide Repertory Theatre’s Adrift in New York embraces the traditions of melodrama with sincerity and good humour, offering an evening that leans wholeheartedly into the genre’s broad characters, exaggerated movement and musical charm. While the style is deliberately larger-than-life, the company, under the direction of Rose Vallen, delivers it with a light touch and a genuine sense of fun. The production is supported by familiar songs, well-executed physical comedy and a cast clearly enjoying themselves.
Melodrama isn’t a style we often see on Adelaide stages these days, but Adrift in New York makes a good case for its simple pleasures. Once you let yourself relax into its broad strokes and familiar moral compass, there’s something undeniably refreshing about a story where good is good, bad is bad, and you know all will end well. Booing the villain, cheering the hero and joining in communal singing might feel unfamiliar at first, but the cast — particularly Jude Hines — does an excellent job signalling when to jump in. By the second act’s singalong, the room had loosened considerably, and the shared laughter and interaction became part of the show’s charm.
The familiar character types were all there, and the cast delivered good projection, clear diction and the stylised gestures required in a melodrama. This ensemble exhibited energy and a shared sense of play.
TJ Baker and LA Foale were well paired as heroine and hero. Baker gave Nellie an earnest sweetness befitting the genre, while Foale’s upright posture, bright smile and unwavering sincerity hit exactly the right melodramatic tone. Malcolm Walton (as Dan Fogarty) and Chris Meegan (as Mulligan) added solid support and strong musical contributions. Dylan Haar delivered the necessary swagger and scheming charm as villain Francis “Desperate” Desmond, giving the audience plenty of opportunities to boo as tradition demands.
Penni Hamilton-Smith made a strong impression as Maggie “Old Mag” Clancy, commanding the stage during the music-hall scenes with boisterous confidence and a knowing rapport with the audience. Jude Hines offered a grounded and perceptive Aunt Sarah, balancing firmness with warmth, and helping guide the audience’s participation with ease.
Among the many highlights was the wonderfully absurd balloon-dance duet at the Bowery music hall, performed by Mike Leach and Lindy LeCornu. Their mismatched “ballet” routine had the audience in stitches. Harry Passehl was also a delight as Monty “The Dip” Moran, bringing sharp physicality and infectious enthusiasm to the role, particularly in his lively “Buzzy Bee” number.
The production’s visual elements were thoughtfully crafted. The costumes captured the era beautifully, and the set shifted effectively between the homestead and the lively New York dance hall. Live musical accompaniment from Sandi McMenamin (piano) and Rowan Dennis (percussion) added warmth and colour without ever overwhelming the action. Having McMenamin sing from the piano before the curtain rose set the tone perfectly.
Adrift in New York may not be the kind of theatre Adelaide audiences encounter often, but there is something pleasantly nostalgic about its storytelling and its wholehearted embrace of innocence and spectacle. The Rep’s production offers a night of uncomplicated fun, carried by a committed ensemble and a generous dose of old-fashioned theatricality.
