[THEATRE REVIEW] NICE WORK IF YOU CAN GET IT @ National Theatre Review (2025)
With enthusiasm and zest, a richly talented cast brings to life the charm and ditz of a musical set in the Prohibition era.
With music and lyrics by George and Ira Gershwin and book by Joe DiPietro, Nice Work If You Can Get It is a comedic delight.
It is 1927 and Jimmy Winter (Will Hanley) is celebrating his upcoming nuptials (he’s been married several times) at a bachelor party in a speakeasy in New York City.
Over imbibed, he stumbles out the back door, only to bump into streetwise Billie Bendix (Lauren Holcombe).
She, along with fast talking, wise cracking Cookie McGee (Joshua Saunders) and not so quick-witted Duke Mahoney (Thomas Myszka) are trying to find a place to hide 400 cases of bootleg gin.
Winter, who takes an immediate shine to Bendix, lets on that he is wealthy and his mother insists that he marry someone respectable, otherwise she will disinherit him.
Bendix doesn’t seem all that impressed until Winter reveals that he has a Long Island beach house that he never uses.
Next thing you know, she and the boys are stashing their ill-gotten gain in the basement of the mansion.
With the police, led by Chief Berry (Mike Gardiner), on their tail, all seems peachy until Winter shows up with his entitled new wife Eileen Evergreen (Lisa Nightingale).
Her father is a Senator Max Evergreen (Chris Anderson), a reverend and judge who is up for re-election.
Like his imposing widowed younger sister, Duchess Estonia Dulworth (Liz O’Hanlon), founder of the Society for Dry Women, he is committed to outlawing vice.
The less than straight trio try to cover their tracks by posing as a butler, maid and cook, but there is no holding back fate.
Despite their respective stations in life, Winter and Bendix have unmistakable chemistry, which comes to the fore amongst much hilarity and high jinks.
Nice Work If You Can Get It first appeared on Broadway in 2012, winning two Tony Awards.
Put simply, CLOC’s production is warm, wonderful and whimsical, with some superb vocals and attractive sets and costumes.
With a magnificent, rich and redolent tone, Lauren Holcombe makes an outstanding Billie Bendix.
Will Hanley is equally confident and masterful as her opposite number, Jimmy Winter. Their interplay is sensational.
Joshua Saunders’ comic timing is impeccable. He is striking as Cookie McGee, while Thomas Myszka is well cast as the henpecked duke with no title.
Like a cat that stole the cream, Lisa Nightingale laps up the spotlight as Eileen Evergreen.
Mike Gardiner is imposing at Chief Berry and Chris Anderson suitably pompous as Senator Evergreen. Liz O’Hanlon lifts the haughty Duchess Dulworth to the operatic.
Like a force of nature, from when she first appears on stage as Jeannie Muldoon – the duke’s love interest – Melanie Ott makes it clear that she has him wrapped around her little finger.
As the script dictates, while “she” takes a while to appear, the statuesque Lee Threadgold gives Jimmy Winter’s mother Millicent authority and presence.
Well supported by an animated ensemble and gifted orchestra, conducted by musical director David Clausen-Wisken, Nice Work If You Can Get It keeps on giving.
Like a scene from the Barbie movie, pink and teal colours dominate and are a major drawcard.
I was so impressed by the “folding” and “turning” range of sets crafted by designers Justin Karakai and Sally Martin.
From the speakeasy to the interior and exterior of the lavish home, time and again they hit the mark.
Costuming by Victoria Horne is to die for. The bright and beautiful colour palate she has created is as good as it gets. I am in awe of what she has done.
Susan Lewis’ impeccable choreography, which includes orchestrating a couple of memorable tap numbers, elevates the spectacle.
Brad Alcock’s lighting and Marcello Lo Ricco’s sound design help ensure this is a CLOC production that will long be remembered.
Director Mark Taylor take a bow, for you have shaped a little piece of magic.
Nice Work If You Can Get It is playing at The National Theatre until 31st May, 2025.
Review by Alex First Photography by Ben Fon