Ladies In Black (Queensland Theatre Company)

"What more do you women want? We gave you the vote!" Mr Miles (Greg Stone) throws up his hands in exasperation when his academically brilliant daughter, school-leaver Leslie - who prefers to be called Lisa, because Leslie's "a boy's name" - urges him to allow her to pursue tertiary education.        

Set in 1950s Sydney, with most of the action taking place in Goodes department store where Lisa is hired as a temp after completing her leaving certificate, Ladies In Black serves as a reminder of how far we've come while its themes are still topical in 2017. Madeleine St John's novel The Women In Black is adapted for the stage thanks to Carolyn Burns (book) and Tim Finn (music and lyrics). Finn's impressive vocabulary allows him to explore unexpected (and often incredibly funny) rhyming possibilities and his compositions, some of which are reprised throughout the musical to great effect, feature melodies that are immediately appealing and memorable (we're still singing, "He's a bastard").    

Gabriela Tylesova's revolving set — although quite minimal for a stage this size — allows us to peer into the lives of our protagonists, often simultaneously, after they've clocked off from their day jobs selling frocks at Goodes. We're moved by their individual struggles — a widow whose first name remains a mystery even to her colleagues (until the end), a single lady who worries she'll be left on the shelf and a childless married lady whose dropkick husband can't seem to get his shit together. Unlikely friendships form and, when Lisa (Sarah Morrison) is called upon to assist Magda (Natalie Gamsu) in the couture section, the Hungarian fashionista quickly becomes her mentor, the young school-leaver surprised to find herself feeling increasingly at home in a worldly setting. On Magda's rails, each dress has a name and Lisa is besotted by a gown (Lisette) that just so happens to be her size.   

Morrison's Lisa is naive without being twee, obedient while daring to dream. The contrast between her father, the traditional-gender-role spruiking Mr Miles, and Magda's more progressive husband Stefan (also played by Stone) reflects the changing attitudes of the time (and the fact that we don't notice it's Stone performing the dual husband roles until the curtain call speaks volumes). Bobby Fox gives a standout performance as Hungarian "reffo" Rudi, demonstrating extraordinary ballon and a grace of movement that calls to mind Frank Sinatra (with whom his character is later compared during the show). His delivery of certain words ("cayke", for instance) is comical without veering toward ridicule.

Andrew Hallsworth's somewhat naturalistic choreography allows for these individuals to dance 'in character' while this somehow doesn't distract from the unison required for a polished, professional feel.

The excellent onstage orchestra led by David Young is sometimes visible, but never pulls focus from the ensemble cast. Simon Phillips' expert direction is complemented by David Walters' lighting design, which guides our eyes to specific areas of the stage that come to signify particular settings - the ladies' different homes, a bar, the beach - with the addition of a few simple props. 

All storylines are satisfyingly resolved and a warm atmosphere descends over the crowd at this show's conclusion. Although we wish we'd caught Ladies In Black in a more intimate theatre setting, this charming musical time capsule doesn't take itself too seriously and allows us to reflect on the generations of women whose talents and ambitions were sadly quashed by propriety.          

Queensland Theatre presents Ladies in Black, until 18 Mar at the Regent Theatre