Born Mary O’Brien, Dusty Springfield was a pop icon of the 1960s and an extraordinary singer. With her distinctive vocal mix of pop, R&B and Motown, she made famous some of the great hits of the day. She was also a female trailblazer, especially regarding her sexuality (as early as the 1970s she admitted to being “perfectly as capable of being swayed by a girl as by a boy”) and when it came to opposing racism.
As with many great artists, Dusty had her demons that saw her become a recovering alcoholic in the 1970s, with her career at an all-time low. She was also deeply troubled by memories of her younger insecure self, who becomes her alter-ego in this musical version.
The show starts in 1954 with 15-year-old Mary (Nikola Gucciardo) determined to be a singer. It rushes through her early life with brother, Tom (Taye Grant) and their successful group, The Springfields, to her going it alone. The first 30 minutes are mostly about presenting songs, unfortunately not progressing the narrative, with minimal dialogue or explanation about her rise to stardom.
It is only when she hears Motown music in New York, and the hit song, ‘Dancing In The Street’, that the show really takes off. Dusty (now played by Amy Lehpamer) finally understands the sort of music she wants to sing. She also meets Reno (Jayme-Lee Hanekom) her soon to be partner and a romance begins.
A more or less chronological narrative, the book dwells mostly on Mary’s continuing presence in Dusty’s life and fluctuations in the ongoing relationship with Reno. Disappointingly, other influences such as agents, colleagues or friends that may have rounded out her character are missing. A humorous element is the support by two loyal assistants to the end, an over-the-top camp Rodney (Nat Jobe) and her dresser, Peg (Kat Harrison).
There are some illuminating scenes. Reference is made to her aborted South African tour when she brushes off press attacks, after being famously deported for trying to play to a non-apartheid audience. There is limited interaction with her parents, though there is nice touch when they try to phone her in the US on her 40th birthday. One revelatory scene set in a Memphis recording studio involves an unsuccessful attempt to record ‘Windmills of Your Mind’.
It is very much a jukebox musical, but this concert version seems to lack sufficient dramatic intensity in both its writing and delivery.
Within the confines of the book, Jason Langley’s direction moves the action along at a cracking pace, bringing out the ebbs and flows of the story though mostly concentrating on song delivery. Michael Ralph’s choreography is well-staged and faithful to the period, while creating a strong dance ensemble.
The set is a simple raised backstage with a worryingly steep staircase leading to the forestage, where most of the action takes place. The orchestra is shielded upstage by screened panels used to project first-rate video designs by Craig Wilkinson and Lani Dwyer.
Costume design by Isaacs Lummis is wonderfully realised with spot-on period clothes and an amazing assortment of Dusty’s frocks. They are matched by marvellous bouffant and other wigs from Trent Whitmore.
Doing her best without much to work on, Lehpamer makes a convincing Dusty, many of her famous songs well-portrayed and delivered in the style of the original. As Reno, Hanekom has a marvellous R&B voice that is powerful and commanding. Gucciardo gives us a touching, youthful Mary, though her singing voice has a tendency to flatness, which is disconcerting. The ensemble works immensely hard.
Despite being a huge fan of Dusty Springfield, both as a singer and interpreter of popular music, this reviewer started to lose interest in this musical interpretation after her comeback in 1979 at the Royal Command Performance in the Albert Hall.
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After a poorly executed Pet Shop Boys sequence, the story jumps straight to her fatal cancer diagnosis 12 years later. Lehpamer gives little indication of being close to death in these scenes, looking quite sprightly until the end, which is then followed by a schmaltzy and maudlin funeral scene. Thankfully, a rousing rendition of one of Dusty’s greatest hits ‘You Don’t Have To Say You Love Me’ takes the show out on a positive and appreciative note.
Dusty The Musical – In Concert presented by Prospero Arts and QPAC
Book: John-Michael Howson, David Mitchell, Melvyn Morrow
By arrangement with Origin Theatrical
Director: Jason Langley
Choreographer: Michael Ralph
Musical Director: Brendan Murtagh
Musical Supervisor: David Young
Lighting Designer: Ben Hughes
Sound Designer: Steve Thornely
Video Designer: Craig Wilkinson
Associate Video Designer: Lani Dwyer
Costume Designer: Isaac Lummis
Wig Designer: Trent Whitmore
Cast: Amy Lehpamer, Nikola Gucciardo, Jayme-Lee Hannekom, Nat Jobe, Kat Harrison, Elethea Sartorelli, Chris Kellett, Jade Delmiguez, Taylah Johns, Romina Villafranca, Taye Grant, Lauren Jimmieson, Sarah Bakker, Emma Wilby, Jack Rowan, Callum Marshall, Justin Anderson
Dusty The Musical – In Concert plays at Concert Hall, Brisbane until 8 June 2025
