If the road to ruin is paved with good intentions, then the path to Broadway is littered with the crashed and burnt wrecks of failed musicals, lost investments and so many broken dreams. In his debut solo show, Flop, regionally-based performer Arthur Hull sets out to prove that even the most spectacular Broadway failures – musical theatre’s very own Hindenburgs, if you will – still contain small gems, no matter how bad and banal their settings may be.
Playing two keyboards, swapping several microphones and looping tracks while also showcasing his strong stage presence and talented vocal chops, Hull (a graduate of the Flying Fruit Fly Circus and a National Busking Championships award-winner, who has also appeared twice on The Voice Australia) performs extracts and medleys of the best songs from some of the worst musicals ever staged, linked together with witty and engaging commentary, across Flop’s fast-paced and engaging 50 minutes.
A song by Bono and The Edge from the disastrous Spiderman: Turn Off the Dark? Check. An extract from Sir Andrew Lloyd Webber’s completely unnecessary Phantom sequel, Love Never Dies (aka ‘Paint Never Dries’ as the influential theatre blog West End Whingers famously dubbed the production)? Check. An homage to the Australian-made musical King Kong, of which no cast recordings – not even bootlegs – appear to exist? Yep, that’s here too.
And if you’ve ever wanted to experience the opening number of the 1988 musical Carrie (based on horror maestro Stephen King’s novel about a telekinetic teenager’s deadly revenge on her high school bullies), which closed after 16 previews and just five official Broadway performances, performed complete with vigorous choreography, then this is the show for you.
Flop opens with Hull already on stage, bantering gently with the audience, and gets underway with the performance of an original number addressed to an imaginary producer in which Hull poses the “are you your own worst enemy?” question in terms that demonstrate his deft comic timing and a quick way with words, as well as a genuine love of the art form.
Elsewhere, Hull utilises his circus skills briefly, but to great effect without ever over-egging the pudding, and ably balances his evident passion for musical theatre with the ability to take the piss. Though, as Hull is at pains to point out, at its heart Flop is a love letter to musicals and the artists who make them, not a night to “bash or belittle” the many spectacular failures of the Great White Way. With one deliciously delivered exception…
Despite his obvious talents, Hull’s lack of stage experience is occasionally evident, such as when he’s fumbling with microphones while swapping them over as he moves from keyboard to keyboard. Similarly, the exaggerated reverb used on his performance of ‘My Funny Valentine’ from the musical Babes in Arms is unnecessary: a rare moment of artifice overpowering the genuinely artistry Hull displays elsewhere in proceedings.
Read: Comedy Review: The Good Immigrant, Trades Hall
Such minor quibbles aside, Flop is a delightful production in which Hull impresses and excels, whether he’s delivering an insightful precis of the role a musical’s opening number should serve, singing powerfully, passionately and with clear articulation in his strong, warm tenor voice, or explaining the plot of the musical Cats – which was a success, not a failure, though you’ll need to see Flop to learn why it’s been included here.
Simple but effectively employed props, a small and non-threatening degree of audience participation, and Hull’s sharp, smart and engaging sense of humour further enrich proceedings. Flop deserves to be a hit.
Flop
Trades Hall
Written and performed by Arthur Hull
Produced by Fruitful Productions
Tickets: $30
Flop will be performing until 13 October as part of Melbourne Fringe Festival.
