It's an almost perfect summer evening at Sydney's Hordern Pavilion.
The only thing that could make it perfect? Perhaps a disco wonderland led by Australia's finest voices backed by the Sydney Symphony Orchestra recounting the saucy splendour of Studio 54 (1 February).The musicians take to the stage as anticipation grows, while disco balls hang down before vibrant pulsating lights. The music kicks right in with 'I Will Survive' and suddenly your hair is huge, your feet are swinging and the whole room is one, gorgeous glittering affair.
Classic after classic follows with 'Fantasy' and 'If You Could Read My Mind', conductor Vanessa Scammell bobbing up and down like an energiser bunny. 'Salsation' builds into a frenetic cacophony of pleasantly dissonant notes, and the might of the orchestra is revealed.
Image courtesy of Sydney Symphony Orchestra - photo by Jay Patel
'Young Hearts Run Free' gets the whole crowd on their feet, as vocalist Lucy Maunder's pink dress tassels shimmer in the light.
A narrator recounts stories from the famed loft, speaking on the afterparty for 'Grease': "Some say the party was better than the movie." The title track starts and the crowd that sat momentarily are right back up. Timomatic's vocals are silky and intriguing, he is a class performer. The iconic riff has never sounded better with a might of strings backing it, as Timomatic begins to dance.
"It's time to undo that top button ladies and gentlemen," Nick Afoa (Opera Australia, 'The Lion King') says, his hair tied back in a ponytail, outfit all white with obligatory chest hair making an appearance. The stage floods golden and purple for 'Let The Music Play', a slower number reminiscent of late-night hours.
Paulini and Maunder share more stories on the club's door policy: "You had to be fabulous. Owner Steve Rubell called it a salad." The pair alternate lines as Streisand and Summer in 'No More Tears (Enough is Enough)', and Paulini's vocals are flawless, you could listen to them all day. The harmonies are spine-tingling as they hit a climactic note in unison. You could stay in this club forever.
Image courtesy of Sydney Symphony Orchestra - photo by Jay Patel
An intermission follows and patrons file in and out for drinks, a smile on every pair of lips. The second act commences with an impressive vocal solo from DYAGULA and a frantic organ solo that ensures the energy comes back to midnight.
'Love To Love You Baby' has the crowd singing along with Maunder, as Paulini joins in a stunning red dress that brings whistles from the crowd as she sings: "Love don't live here anymore," a line surely untrue tonight.
Timomatic shares a story of his incessant dancing as a child, and his plea to his concerned mother that it wasn't his fault. "It was Michael Jackson's!" A melody of Jackson songs plays and the crowd are up again, rainbow lights providing the backdrop.
Maunders vocals shine in 'Take Me Home', as she wears what is surely her tenth outfit, her shirt shining like a billion stars. Each vocalist wears an entirely new outfit for each song, and even among the crowd, fashion is paramount here tonight.
'Stayin' Alive' has the crowd singing an impressive falsetto, before 'September' sees all three male vocalists draw the loudest cheer of the night. 'Don't Leave Me This Way' basks under orange lights, as stars flicker across the ceiling. Paulini takes 'I'm Coming Out', and it's never sounded so good as blue lights flood the stage.
Image courtesy of Sydney Symphony Orchestra - photo by Jay Patel
The end of Studio 54 is recounted as police seize Rubell after he bragged: "Only the mafia make more money than me." The resulting arrest collected millions in cash and drugs, but Rubell was allowed to have one final party before prison.
Yellow and red lights sparkle, as 'Disco Inferno' begins a medley including 'I Love The Nightlife' and 'YMCA', the crowd participating in the dance moves. 'If I Can't Have You' and 'That's The Way (I Like It)' play, before 'Blame It On The Boogie' absolves any mistakes made on a drunken night out.
'We Are Family' closes a spectacular show that is over too soon; but wait, "do you want one more," Barry Conrad teases. Paulini appropriately takes 'Last Dance' as all receive one last chance to dance.
The curtains fall on a spellbinding night of fun, as patrons file out sweaty, tired and satiated. You leave wishing for disco's glamour and glitz to gloriously return.
