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Smith is terrific as the rumpled Thompson, whom Ferrington provides with songs and dialogue infused with the rhythms and rhyme schemes of modern day hip-hop.

Olga Solar's score, which incorporates elements of film jazz, barstool balladry, torch song and beguine, is played with warm finesse by a four-piece combo led by pianist Michael Tyack

Sydney Morning Herald

 

 

Johnathan Biggins’ direction doesn’t let a sight gag or piece of comic timing escape, Michael Tyack is the expert musical director and James Browns design is a marvel of elegance and economy.

Writer Ian Ferrington has a way with words, no doubt about it, and Olga Solar’s score is unfailingly attractive and stylish.

Rap rhythms, jazz moods and smooth 1950s ballads go down easily and the laughs come think and fast if you’re partial to a pun.

The Australian

 

 

I can’t think of many musical theatre writers in Australia who have as much flair as Ferrington and Solar. And they’re just starting out.

Ferrington’s use of language and internal rhymes is very clever, but he wins just as many laughs with some dopey but delightful puns as he does with the smartest wordplay. Solar’s score is a stylish, sophisticated and very hummable pastiche, with some roaring highlights.

Daily Review

 

By partnering with New Musicals Australia to give a platform to emerging artists to create and develop new work, it’s the audience who wins by getting to experienceThe Detective’s Handbook.

The show is a cleverly constructed parody of an overdone genre, balancing light-hearted humour, heightened melodrama and the occasional touch of sincerity.

Aussie Theatre