When the South East Melbourne Windmill Theatre Company announced they were putting on a musical created in a mere 24 hours, I was immediately intrigued. Whether it ended up being brilliant or a total disaster, I knew it would be a unique experience.
The announcement of the show title was told to the cast, crew, band and creatives, as well as on a Facebook live video, the day before the production was set to go ahead. I had guessed it would likely be a jukebox musical and mostly ensemble based so one person wouldn’t be given the majority of lyrics and dialogue to learn in the short amount of time – and I was right.
Written by Neil Gooding and Nicholas Christo and packed with hits from artists like Britney Spears, The Spice Girls, Backstreet Boys, N*SYNC, Christina Aguilera and more; Popstars is about two high school bands trying to score a record deal at the State Talent Show, judged by pop-band impresario Simon Austin (Mathew Charles). It sees Queen Bee, Shannon Van de Witt (Shanae Thomas-Williams) create the Candy Girls alongside her friends Steffi (Imogen Rawlings) and Tina (Sarah Ginsberg) and the bookish Charlie (Avi Araneta-Puyat), while Mark’s (Mitchell Smith) grunge band turns boy-band with the help of new girl Ella (Hayley Noy).
It’s simple; girlband vs. boyband.
The plot is uncomplicated and perfect for the short amount of time they had to work on it. The musical began with a voice over informing the sold out audience of the musical’s gimmick and encouraging singing and dancing. Whereas mistakes would be frowned upon during a normal production, here they were part of its charm. Actors broke character, flubbed lines and lyrics, missed dance steps, ad libbed etc., and the audience were supportive and in stitches. There were some technical difficulties with mics dropping in and out, but I suppose that’s to be expected.
The standout performer was Thomas-Williams. She was given the majority of dialogue and not only did she do an amazing job remembering her lines, she delivered it with the perfect amount of sass, style and wit. I quite enjoyed Smith’s performance too as his comical timing was genius.
Both he and Thomas-Williams were also natural leaders, as Rawlings, Ginsberg and Araneta-Puyat looked to her for guidance when lost, as Mack Williams (Patrick), Thomas Kitt-Thompson (Vinnie) and Nabs Adnan (Shane) did with Smith. Just as it was evident that the lesser confident dancers looked to the more experienced ones, and which numbers they probably rehearsed more than others.
Other highlights included Janet Reid singing Billy Ray Cyrus’ Achy Breaky Heart, Konstanze Koedam as DJ Prince, a scene stealing moment between Adnan and Stacey Camilleri (Carrie) and the choir (in which director Danny Ginsberg commented that even he and the production team wasn’t aware was going to happen and credited the cast’s willingness to try things).
Considering it had sets, props, costumes, projections and graphics, and choreography, it’s amazing that this fun and well produced show was created in such a short amount of time.
While the concept of creating a 24 hour musical is not new, and I’m sure Windmill learnt a lot during their first with 2021’s Rock Of Ages. Everyone involved should be proud of their efforts. It ended up being one of the most fun theatrical experienced I’ve ever had the privilege of seeing.
Here’s to (hopefully) another 24 hour musical in 2025!
—
Images by Dylan Mazurek/Facebook
TINSEL and TAP SHOES 