Review: JUDY'S ENCORE at Circa Theatre

Judy's Encore is a solo musical theatre work written and performed by New Zealand entertainer Ali Harper. It imagines Judy Garland in 1967, attempting to rebuild her reputation following the difficulties of a previous Australian tour. The show combines more than 20 Garland classics with autobiographical storytelling, presenting Garland at a pivotal moment in her later career.

As we enter Circa Two, a grand piano and a chair for the horn player sets the stage. Black shimmering drapes and numerous chandeliers hanging from the ceiling immediately create a cabaret atmosphere, while period music playing softly in the auditorium helps transport us to another era before the performance has even begun.

The lights dim and musicians Francis Meria (piano) and Blair Latham (horns) take to the stage to begin the overture. The star of the show is then announced, twice, before making a dazzling entrance in a stunning floral, sequined evening gown. Carrying a corded microphone, a rarity these days, she immediately evokes the era. I have to admit, however, that I spent much of the evening worrying it might become a convincing trip hazard.

The opening number, I Feel a Song Coming On, lets us know immediately that we are in very good hands. Ali Harper delivers superb vocals with effortless control and authenticity. Not only does she capture Judy Garland's distinctive sound, but she also reproduces her mannerisms with remarkable attention to detail. I particularly enjoyed the jazz influence throughout the evening and the song selections were outstanding.

Harper has a wonderful rapport with the audience. She flirts, teases and engages with them in the best possible taste. During Puttin' on the Ritz, she borrows a hat from a gentleman in the front row, incorporating it into her costume for the remainder of the song. Fortunately, she returns it at the end, and judging by his reaction, he seemed delighted to have been part of the show.

I don't know a great deal about Judy Garland's life beyond the broad strokes, so I particularly appreciated the way her story was woven throughout the performance. It was evident that Harper had undertaken extensive research, and that effort paid dividends. Conversations I overheard after the show confirmed that many audience members, like myself, had learned new and fascinating details about Garland's life and career.

The performance cleverly charts Garland's decline over the course of the evening. In the first half, we meet the comparatively composed Judy Garland, sipping tea while hinting that she might prefer something stronger. By the second half, a bottle of Southern Comfort has replaced the teapot, and Judy begins knocking back drinks of alarming strength. Harper's physical performance becomes increasingly frantic and unpredictable, yet somehow her magnificent vocal quality never falters. It's an impressive balancing act, portraying a woman coming apart at the seams while maintaining complete control as a performer.

The technical elements are equally strong. Lighting and sound, by Niamh Campbell-Ward, are excellent throughout and contribute to the atmosphere. By now, audiences have come to expect a high technical standard from Circa Theatre and this production certainly delivers.

The gentleman seated next to me spent much of the evening humming and singing along, which I took as a sure sign he was enjoying himself. Sadly, his voice made Leonard Cohen sound like Frank Sinatra. Thankfully, his enthusiastic contributions did nothing to detract from Harper's performance, which was, quite simply, superb.

There are few performers capable of holding an audience's attention alone on stage for an entire evening. Ali Harper does so with ease. Her talent as both a singer and storyteller is undeniable, and Judy's Encore is a fitting tribute to one of entertainment's most enduring icons.

If you have the opportunity to see this production, take it. You will be entertained, moved, and left marvelling at the extraordinary talent on display.

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