Behind The Headline Of The Front Page

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Date Reviewed: 23/04/2024

Picture this. The sound of a typewriter, the keys furiously tapping, while multiple phones sound their distinctive “brrrrring!” under a cloud of cigarette smoke. This is the 1920’s, inside a crowded room full of newspaper journalists at the Criminal Courts in Chicago.

Production and Costume Designer Paris Burrows places the audience right there; the journalists wear stylish vests and ties, the women have beautiful hair and hats and the room is complete with several coloured candlestick telephones noisily vying for attention on the wooden table – those upright standing telephones with a separate mouthpiece and receiver and the round dial on the base of one hundred years ago. The set feels authentic, and the standing glass water cooler, small paper cups and the wooden roll top desk are a quiet but strong presence and used at key points during the play.

Journalists play cards and banter, waiting to report on the hanging execution of a prisoner convicted of shooting a black police officer to death, Earl Williams (played by Diego Retamales) which is set to take place at 7am the next morning.

This is The Front Page, a play by Ben Hecht and Charles Macarthur which premiered on Broadway in 1928 and has been remade into three movies in the years since then.

Director Nicholas Papademetriou’s adaption of The Front Page has cleverly kept multiple original themes clearly at the forefront, whilst changing the gender of the one of the main characters, journalist Hildy Johnson. This worked to the play’s advantage, and I truly enjoyed Rose Treloar’s performance as Hildy, the “newspaper man” as her character’s quick wit and gutsy comebacks proved she was as intelligent and competent as her male colleagues.

The Front Page has many moments that allow us to ponder how far we have come in the last century, with the play highlighting how sexism and gender bias were acceptable practice in the workplace. It is a case of art imitating life, running somewhat true to the era, as Hecht and Macarthur were themselves newspaper crime reporters in Chicago. Other issues such as corruption in politics and manipulation of facts to suit one’s agenda for their own benefit are sharp reminders that some things remain the same.

The play, despite these serious themes, is a comedy and the antics of some characters made the audience laugh, notably the overbearing character Mrs Chambers who was superbly played by Alison Grant. Mrs Chambers, or “Mother” (in law to be), stood out and seemed to be a firm favourite villain, and we winced at her snooty treatment and attitude toward her son’s fiancé Hildy. Bruce Grant is played by Michael Smith. He convincingly conveyed a bland insurance salesman who holds hope for the move to a quiet life in New York with Hildy and his mother, all three living together. Hildy is fiery, career driven and has an unstoppable need to write exciting stories, so we are left wondering if this is a good match.

This was a large cast of eighteen and all were cohesive on stage, not an easy task with the rapid-fire script and the constraints of a stage. The supporting characters easily carried the play forward, with the second act moving faster than the first. As the news breaks of William’s escape, the throng of journalists jostling and hungry for a story were reminiscent of a flock of seagulls feasting on some chips at the beach!

For the performance I attended on Friday, Jerry Mullaly stepped into the role of The Herald Examiner newspaper’s managing editor Walter Burns. Mullaly and Treloar had an understated onstage chemistry that grew the more they bantered, and hinted at perhaps a hopeful romance, even though Hildy was about to start her new life in New York.

The Front Page is a fast paced and entertaining play which is well worth seeing as a glance into the world of tabloid press.

Running time: 100 minutes, no intervals
The New Theatre, Newtown 23 April – 18 May 2024
Tickets:
Full $37
Concessions, Groups (6+) $32
New Theatre Members $25
Thrifty Thursdays $25

Reviewed by Linda Lokhee