Reviews

The Best Little Whorehouse in Texas is a musical set in the sleepy town of Gilbert in the 1970s - a time when Russia was red, Michael Jackson was black and video was busy killing the radio star. The latter becomes central theme in the show as Mona Stangley’s “Chicken Ranch” is exposed as a local whorehouse on the Watchdog! television programme. The brothel’s workers insist that there is “nothing dirty going on”, however it soon becomes apparent that behind closed doors things are as raunchy as a Year 10 Catholic school’s disco. The crashing of the brothel by Watchdog! host Melvin P. Thorpe and his all-singing, box-stepping chorus of singers - later turned angry mob - cause the whorehouse defenders to lament the quiet old days before television, as the Chicken Ranch is threatened with being shut down. And so the plot unfolds, with garter-wearing girls and shirtless cowboys galore, amid the tale of an almost-romance.

The BLWIT cast exhibited talent equal to the size of William Duignan’s huge f**k off moustache. Lucy Mulholland drove the show with a strong performance as Miss Mona Stangley, portraying the motherly role with sophistication – including carrying off the potentially cringe-worthy number “Girl, You’re a Woman” convincingly and with flair. William Duignan’s portrayal of Sheriff Ed Earl Dodd was excellent, characterizing the Sheriff as slightly bumbling, yet meaning business (much like his aforementioned moustache) and backing up the role with strong vocals. Seamus Dunn’s performance as the 1970s gold jacket-wearing TV host Melvin P. Thorpe was delightfully energetic and Katrina Clark’s performance as the inexperienced working girl, Shy, delightfully awkward. The vocals of Stephanie Kokay (‘Jewel’) and Sydney Lehman (‘Angel’) deserve a particular mention, each delivering tuneful and sultry performances. Jonathan Love was a particular crowd- pleaser as the Governor of Texas, dodging reporters’ questions with his Southern singing voice and dainty footwork, leading up to the fantastically choreographed company number “The Sidestep”. On top of a stellar cast, BLWIT boasts a well designed set, a foot-tapping-inducing band and costumes which did not disappoint – they were historically accurate (which the girls may appreciate) and particularly revealing (so no excuse for the males not to enjoy the show too). These aspects of the show forgave a certain curtain entry mishap in the first half, adlibbing about which only added to the charm of the show.

Presented by Musoc following the successful runs of each of Reefer Madness and Sinnerman in 2010, The Best Little Whorehouse in Texas kicks off the O-week line up as a show packed with action and ac-shawn alike. With tickets at $12 for students and $15 for non-students, a night at the Ngaio will barely scratch the total of your newly received course-related costs that are burning a hole in your pocket.

So get along to the show, which will be on stage until 26th February – it has been promised that they won’t bite. (Unless you pay extra).