Elder Conservatorium Music Theatre’s Graduating Class of 2025 have roared onto the stage for their final milestone production, How to Succeed in Business Without Really Trying. This golden age classic is a satirical plunge into the slimy ways of the corporate world. Its timeless spoof of ambition and office culture remains as funny and relevant as ever, proving how comedy can connect across time.
With music and lyrics by Frank Loesser and a book by Abe Burrows, Jack Weinstock, and Willie Gilbert, the show premiered on Broadway in 1961. It was an instant success, winning seven Tony Awards, including Best Musical. It also won the coveted Pulitzer Prize for Drama, making it one of the most successful satirical musicals of its time.
How to Succeed in Business Without Really Trying follows the meteoric rise of J. Pirrepont Finch, a window washer who stumbles upon a self-help book and decides to climb the corporate ladder, minus one’s morals and ethics.
Armed with ambition and strategic flattery, Finch navigates the absurdities of office politics at the World Wide Wicket Company by outwitting bosses, avoiding actual work, and attempting to win the heart of secretary Rosemary Pilkington. The show delivers a biting critique of office life as Finch discovers that climbing the ladder isn’t always as consequence-free as he hoped.
Under the wonderful direction of Erin James, the cast executes a lively and refined show that stands as a testament to the students’ readiness for the profession. Despite being an older piece of theatre, James’ direction allows for modern audiences to connect with the material, no matter their workplace!
As J. Pirrepont Finch, Matt Hawke gives a smashing performance. He is poised and charming, delighting the audience every time he breaks the fourth wall and connects with them. It is hard to know what he is going to do next, but his mysterious and cheeky characterisation has everyone hooked!
Leading the ensemble in the finale for Brotherhood of Man, Hawke superbly demonstrates his vocal abilities, all the while nailing the mid-Atlantic inflection. As the whole company join in for this final show-stopping number, their collective efforts close the show on an energetic high.
Finch’s love interest is the sweet Rosemary, played by Ellie Esdene McMahon. McMahon perfectly embodies the archetype of the pure, yet ambitious leading lady. Her solo, Happy to Keep His Dinner Warm, is a perfect balance of old school charm, with a touch of irony that leans into the stereotypical gender roles.
Together with Hawke, the pair are a humorous duo, demonstrating sound character work and refinement of their scenes. Their on-again-off-again plot arc has the audience rooting for them one minute and shaking their heads the next!
Rosemary’s no-nonsense best friend Smitty is performed by Billie-Rose Russell who brings an effortless sarcasm to the role. Russell is the perfect contrast to Rosemary’s romantic optimism. Together with Joey Haenan as Bud, they make Coffee Break a standout moment of hilarious office panic.
Narrating the show is Amelia Chapman, known as The Book. In each appearance, she is confident in her delivery, anchoring the action with her knowing presence and sarcastic humour.
Sophie Carmody is a hoot as Hedy La Rue, the quintessential 1960s bombshell. She effortlessly uses her seductive charm to get what she wants in a male-dominated world. You cannot help but adore her. Carmody’s mannerisms are spot on, and she knows how to time her one-liners with the right amount of bite.
Epitomising all that is corrupt within the business world in the best way is J.B. Biggley, performed by Ryan Murphy. As the pompous, but not particularly competent, top boss, Murphy leans into the role with a wonderfully exaggerated sense of self-importance that has the audience laughing throughout. His performance of Grand Old Ivy is absolutely hilarious!
To top things off, Alexander Kermond’s choreography treats the audience to a surprise appearance of male cheerleaders (who definitely needed more stage time!), culminating in a delightfully energetic number.
Trying to somewhat maintain the order in this wild workplace is Bratt, head of HR, played by Jaxon Joy. Perfecting the character archetype of the corporate yes-man, he is the ironic voice of reason throughout the show. In another audience favourite song, A Secretary is Not a Toy, he delivers a humorous lecture on workplace conduct, highlighting the absurdity of the office’s gender dynamics.
Kermond’s choreography oozes old-school Broadway and highlights the strengths of the cohort. Together, they make expert use of the space, allowing for many moments of humorous tabloids and skits in between the high-energy dance breaks.
It wouldn’t be a Golden Age musical without a tap number, and I was delighted to see it during Cinderella Darling!
Another standout number is Paris Original, led beautifully by the female company. They display a refined sense of teamwork, amplified by the fact that they are all wearing the same dress (hilarious!). The scene is full of playful slapstick character work and exaggerated reactions as they flit about the stage in distress, the audience lapping it up as they continued to enter.
Livening up what could have been a drab office is Simon Greer’s set design. In a clever nod to Piet Mondrian’s abstract compositions, the staging features two see-through sliding panels made of red, blue, yellow, and white squares.
Flanking the stage are two towering staircases, heightening the looming office tower and providing more dynamic spaces for some of the action to take place. Christopher Snape’s lighting design, adding to the show’s playfulness, uses colour to complement the characters and action.
Paul Sinkinson’s music direction is well-paced, capturing the show’s classic Broadway sound. It is always a treat to hear a live orchestra play at pre-professional productions, and all musical elements are executed without any noticeable hitches.
The Elder Conservatorium’s Graduating Class of 2025 have tackled this older piece of theatre with modern humanity and passionate joy. As their final production, How To Succeed In Business Without Really Trying stands as a cohesive showcase of their growth, talent, and readiness to take their next steps into the profession.
How To Succeed In Business Without Really Trying is presented by the 2025 Graduating Class of Elder Conservatorium Music Theatre and runs until 5 October 2025 at the Scott Theatre, The University of Adelaide, Kintore Avenue, Adelaide SA 5000.
Tickets: https://events.humanitix.com/how-to-succeed-ecmt
Website: https://able.adelaide.edu.au/music/engage/elder-conservatorium-music-theatre
Socials: https://www.instagram.com/elderconmusictheatre/
Photo credits: Greg Balcombe
Leave a Reply