Hugh Jackman. Bed bugs. Furries. Italian accents of varying calibre. Oil (*eagle sound effect*).
Promising “an unforgettable evening of Western whimsy and frontier frivolity,” while clarifying that the show “actually has nothing to do with cowboys,” USU Law Revue 2024: The Good, The Bad, and the Trustee is our annual reminder that law students, despite their reputation, are actually (almost) normal people with a great sense of humour and near-unassailable talent.
THE GOOD…
This year’s cohort of closeted (and, in some cases, not-so-closeted) theatre kids boasts a remarkably impressive cast and executive, a majority of whom are women or gender-diverse, with direction by Noa Amiry, Beau Glass, Vicky Miller, Grace Selim, and Annika Lee.
Like many of its predecessors, The Good, The Bad, and the Trustee dips into its analogous superannuation fund of singing talent like a Double Bay boomer purchasing that second investment property. It was remarked of 2022’s Pulp Jurisdiction that this phenomenon “will just always be a natural consequence of handing insecure overachievers a microphone” and “giving them another sphere to dominate over their peers,” and this year’s crop of vocalists continue to prove just that. Alongside singing director and Law Revue president Emily Scarlis, Rory O’Keefe and Lee are exceptional even among this pool of outstanding singers, giving many terrific performances throughout.
One particular highlight is a surprisingly self-aware acapella piece (with guitar accompaniment by Josh Mejia), reflecting on the culture of nepotism which pervades the upper echelons of the legal profession, putting a twist on Kermit the Frog’s classic “Rainbow Connection”.
The irrepressible vocal strength of the cast is evident in every musical number, well-rehearsed dance routines (choreographed by Anna Simpson, Vanessa Ryan, and Isla Mowbray) are spectacular, and the cast absolutely sells their character performances.
In true Law Revue tradition, this year’s cohort can’t resist assuming the histrionic personalities of presidents and prime ministers, though they manage to relegate themselves to just a single Trump impression, and O’Keefe certainly delivers. And for those rusted-on Law Revue-goers, Gollum from The Lord of the Rings makes a return from 2019’s Love At First Citation.
One clever skit early in the show wonders what a police interrogation (ACAB) would look like on Bad Cop’s day off – introducing cops of the “sad,” “lad,” “ad,” “rad,” “Vlad,” and “Dad” varieties. Jasmine Aitken and Lilah Thurbon prove themselves as scene-stealing performers – I only wish they were given more opportunities to shine.
A perennial feature of faculty revues, this year’s seven-piece band weaves together what can be, at times, thematically disjointed sketches, as well as providing the backing to the show’s many musical skits. With keyboardist Scarlis joining Charlie Lancaster (of Cardigan Blue fame) on drums, Mejia on guitar, Vicki Yan and Ben Cohen on saxophone, Guy Rein on guitar and saxophone, and Wocky Singson on bass, the show is impressively well-scored and the audience is never left with a boring moment.
THE BAD…
In a revue that is infamous for its perspicacious political and legal commentary, the satire does take a significant hit, with a lot of this year’s political jokes lacking the signature “bite” that many Law Revue regulars have come to anticipate.
Though the writing and performances were undeniably funny, some pieces serve up arguably ‘easy’ political critiques, and – between a Godfather-style takedown of the supermarket duopoly, a hit-piece on Boeing CEO Dave Calhoun (Simpson), and an albeit hilarious musical duet between Elon Musk (Lee) and Jeff Bezos (O’Keefe) – the audience is certainly left with the impression “billionaires bad,” but not much more.
A clear standout is a rendition of Hairspray’s “You Can’t Stop the Beat,” which delivers a clever bludgeoning of the Labor and Liberal parties’ indistinguishable positions on climate policy – complete with co-director Glass (I stopped counting how many sketches he shows up in) as Peter Dutton and Georgia Zhang as Anthony Albanese.
Notably and perhaps inexcusably absent is any mention of the unfolding genocide in Gaza, especially given the show’s natural tendency to weigh in on the defining political issues of the moment. Here’s hoping next year’s directors pay closer attention in their LAWS3434 lectures.
Despite this, there are a number of standout sketches which begin to atone for the otherwise apolitical pieces – a recurring gag featuring producer Martha Barlow as an oil-crazed American gives the audience laughter without lull, and the Act Two musical opener “It’s Only Men” (adapted from Geri Halliwell’s hit) deals an incisive blow to some tearful Newington Old Boys.
…AND THE TRUSTEE
While revues of the past have sometimes left audiences in the lurch with their overreliance on faculty-specific in-jokes and ‘too-niche-to-land’ references, The Good, The Bad, and the Trustee is refreshingly relatable for the most part, with one of the show’s funniest skits featuring a law student exploring their “footnote fetish” (Aitken and Glass et al., 2024).
Showcasing a brand-new Jim’s Group service with a sinister twist, and a melodramatic sketch satirising the Shakespearean aside that provoked memories of Year 10 English, it’s difficult to leave the show without feeling at least a moment of resonance with its broad range of content.
Finally, the sharp wit and excellent comedic timing of Anthony-James Kanaan isn’t wasted in this year’s production, delivering a brilliant bit of crowd work towards the middle of the second act and managing to sneak in a stinging “inclosed lands” joke, which may have sailed over the heads of the less activist-inclined audience members.
On account of its highly competent and often underappreciated crew (Grace Wallman, Dinah Horwitz, and Tempe Whalne) and stage manager Cobie Tsoi (with help from seasoned ex-stage manager Veronica Lenard), The Good, The Bad, and the Trustee manages to avoid many of the slip-ups and rough edges that are ordinarily hallmarks of an opening night.
It goes without saying that this year’s Law Revue definitely isn’t one to be missed and, notwithstanding Albo questionably appearing as the titular “The Good” in its advertising, delivers a unique night of comedy and earns its place in the grand cosmos of faculty revues.
The Good, The Bad, and the Trustee will play at Seymour Centre’s York Theatre until August 24.
