Review: A NEW BRAIN at Star Theatres, Theatre One

Reviewed by Barry Lenny, Friday 13th October 2023.

David Gauci and Davine Productions are presenting, to mark their 10th anniversary, the Adelaide premiere of A New Brain, a semi-autobiographical musical written by William Finn, best known to Adelaide audiences for his other musical, The 25th Annual Putnam County Spelling Bee, which has been performed here numerous times. Finn co-wrote the book with James Lapine, and the vocal arrangements are by Jason Robert Brown. It was first performed in 1998.

In 1992 Finn’s vision suddenly began to fail, he suffered dizziness, was partially paralysed, and was rushed to hospital. It was diagnosed as arteriovenous malformation, or AVM, in his brain stem. He successfully underwent Gamma Knife surgery. The musical, with most of the songs written soon after his release from the hospital, draws on his experience.

Director, David Gauci appeared in a professional production in Melbourne and it has long been a dream of his to stage another production. He is joined by Musical Director, Peter Johns, and Choreographer, Shenayde Wilkinson-Sarti.

It is an unusual piece, being a rather quirky string of choreographed songs and almost no spoken dialogue. This reflects its early incarnation as a concert. Although there are only ten characters, there are twelve performers in this production, the two swings (understudies) filling out the ensemble. They are accompanied by a very solid six-piece orchestra, conducted from the first keyboard by Peter Johns.

The central character is a songwriter, Gordon Michael Schwinn, who we find trying, unsuccessfully, to write a song for Mr. Bungee, the director, producer, and star of a children’s television show in which he appears in costume as a frog. Frustrated, Gordon accepts the invitation to have lunch with his agent and friend, Rhoda, where he suddenly falls face first into his food, and is taken to hospital. Here, he is visited by his mother Mimi Schwinn, and, when he eventually returns from sailing, by his boyfriend, Roger Delli-Bovi. He is attended by Dr. Jafar Berensteiner, the larger-than-life, “nice nurse”, Richard, and the not so nice, Nurse D. He is also visited by The Minister, a fool who doesn’t listen to Gordon when he tries to explain that he is Jewish. Peripheral to all this is Lisa, a homeless woman who appears from time to time begging for change, in both meanings of the word.

Everybody gets a chance to shine, through the numerous solos, and full cast numbers, with impressive choreography in almost every song. The cast is a combination of some of our top musical theatre and opera performers.

Daniel Hamilton, as Gordon, is onstage for almost the entire show, singing in the majority of numbers. He blends the drama of Gordon’s situation with humour as he recovers, dealing with those around him, his newfound outlook on life, and the odd hallucination.

Deanna Farnell plays Rhoda, supporting Gordon, but also keeping in mind his obligation to provide music for Mr. Bungee. Rhoda also has unrequited feelings for him. Farnell nicely negotiates the various facets of Rhoda.

Lindsay Prodea, as Roger, oozes charm and creates a believable relationship with Hamilton’s Gordon. Roger’s concern and feelings for Gordon, which are reciprocated, are clearly displayed, particularly in the poignant scene where he sleeps in Gordon’s arms the night before the all-important MRI.

Catherine Campbell, as Mimi, does everything expected of a Jewish mother but bring him chicken soup. At first, there is a level of denial as she tells Gordon that she is there to take care of him and that she will make him well, as though he had a cold, rather than a life-threatening illness. She later releases Mimi’s anger in the song, Throw it Out, as she disposes of his books.

Adam Goodburn, in a bright green frog costume, plays the overbearing Mr Bungee, hilarious in every appearance, with a great range of facial expressions and gestures. He shows, too, that opera singers can really dance.

Mark Delaine is wonderfully flamboyant as the high-camp Richard, generating waves of laughter, and ending the show ‘pretty in pink’ in drag.

Lisa Simonetti plays Lisa, the homeless woman, as a strong, no-nonsense, determined character, and she sings up a storm. The minor characters are all well-cast, too, with not a weak link anywhere.

Gauci’s set is impressive, with Gordon’s office to one side, a building with steps leading up to the door on the other, where Lisa sits on a bench, and a larger centre section for the hospital. The lighting design, by Tim Bates, is well-matched to both the set and the action, and the costumes look good, too.

You have until next weekend to catch this one. Opening night was packed, so don’t wait too long to book.

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