Theatre Now Review: Half Time

“A terrific theme, just too late in the unfolding. Structurally, the book spends too much time in exposition and not enough on the journey”

“Meant to be a celebration of age, at times a patronising tone creeps in. Too many middle-aged white men writing about women over 60, one thinks? The company of seniors are dressed with the sort of frumpiness we associate with retirement of half a century ago. The over 60s now tend to embrace fabulousness, if anyone has noticed.” – Kate Stratford 3.5 busted moves

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Impressive CVs are the draw to Nineteen 98 Productions’ Half Time, a new musical which sets out to defy ageism and celebrate the wisdom and experience that growing older brings. The alumni of Australian musical theatre bust out the moves in this reshaped story of the New Jersey Nets’ first ever over-60s dance team.  What began as a documentary in 2008, ended up a musical theatre feature in 2015.

Strong vocals aplenty from seasoned performers. Nancye Hayes (Dorothy / Dottie) and Zoe Carides (Camilla) finesse their characters whilst Dolores Dunbar as Joanne and Deni Gordon as Bea appeal with a sentimentality which strikes a chord. As Ron, Eric Rasmussen is the only male of this senior dance crew and does a fine swing number to remind us all of what dance used to look like. When one adds into the crew mix Gabrielle Chan, Donna Lee, Joy Miller and Wendy-Lee Purdy , the total thespian experience becomes mind-boggling.

Leading the younger crew, Stefanie Jones gives an impressive take on Tara, choreographer and coach, whilst Chaska Halliday and Jaime Hadwen triple-threat their way into multiple roles. Monica Sayers is all corporate insensitivity whilst Tom Sharah and Coby Njoroge move with equal dexterity between their multiple roles, enhancing the humour in wonderfully delineated cameos.

A wannabe A Chorus Line for seniors, this script should have taken on board the keys to the immense success of that musical. Such as establishing, very early on, the backstory to the dancers. Half-Time does not begin to explore the motives of the seniors until the second act. The writing also lacks a solid dramatic arc.  Similarly, the seniors’ inability to connect with Hip Hop lyrics and music is not established and resolved until halfway through the second act.  Two groups of disenfranchised people, frustrated at being sidelined and ignored by society, find the expression of their anger in the music of Hip Hop.  A terrific theme, just too late in the unfolding. Structurally, the book spends too much time in exposition and not enough on the journey. A lot of vignettes. What’s at stake? Not a lot really, – the seniors may look like a bit of a joke when they perform at the half time break in a game, and that is the worst that can happen.

Meant to be a celebration of age, at times a patronising tone creeps in. Too many middle-aged white men writing about women over 60, one thinks? The tone is somewhat exacerbated by the costuming. The company of seniors are dressed with the sort of frumpiness we associate with retirement of half a century ago. The over 60s now tend to embrace fabulousness, if anyone has noticed.

There is no doubt that a world driven by capitalism and consumerism finds no value in those who no longer work to the capacity of their youth. One has to only look at some world governments’ decision to choose economy over protecting the elderly during the pandemic to verify this. Money over experience and wisdom.  This show does try to offer a different perspective – OK Boomer, the show seems to say, perhaps you do have something to offer and celebrate. Kate Stratford           3.5 busted moves

Kate Stratford, Theatre Now

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