Heartwarming Productions dished up this deliciously entertaining musical for just two performances at Metro Arts, and it was a buffet of laughs!
'Five Course Love the Musical' by Gregg Coffin is a comedic whirlwind of love in its many, often ridiculous, forms. This short-and-sweet musical was brought to life by the talented trio of David McLaughlin, Emily McCormick, and Tomer Dimanstein. These three actors played an impressive fifteen characters across five wildly different restaurants, each scenario more ludicrous and entertaining than the last. McCormick, wearing multiple hats as director, producer, and performer, ensured the show was a tightly executed, fast-paced romp.
The evening kicked off at Dean’s Old-Fashioned All-American Down-Home Bar-B-Que Texas Eats. What a mouthful! McLaughlin, as Matt, opened the show with "A Very Single Man". Clearly in his element, he played a goofy, lovesick character, all while dazzling under the most gloriously over-the-top disco ball I've ever seen. His comedic timing is razor-sharp, making Matt’s dorky charm utterly endearing, even when he’s clearly not the 'Ken' that Emily McCormick as 'Barbie' was searching for. Dimanstein’s entrance as the overly-friendly waiter added another layer of hilarity as his stereotypical Southern accent and country tropes were delivered with a wink and a nod.
Next, we were whisked away to Trattoria Pericolo, a world of mobsters and secret trysts. McCormick, now the sultry Sophia, and Dimanstein now the panicked waiter Carlo, delivered a melodramatic performance in "If Nicky Knew" that could have rivalled any soap opera. McLaughlin transformed into Gino, the suave mobster having an affair with Sophia. Their duet, "Give Me This Night," was gorgeous, with McCormick’s stunning operatic tones and McLaughlin's highly controlled vocals. The exaggerated Italian accents and mafia stereotypes were a laugh, with the actors fully embracing the melodramatic flair.
As the show progressed to Der Schlupfwinkel Speiseplatz, the absurdity reached new heights. Dimanstein’s haunting solo, "Shelter-Lied," as Heimlich was unexpectedly different and mesmerising to behold. I was spellbound as he delivered each note with haunting intensity, showcasing that Dimanstein isn’t just a comedic talent but a powerhouse performer capable of evoking intense emotion. McCormick as Gretchen was also intense, as she stared down the audience in "No is a Word I Don’t Fear." The trio’s performance of "Der Bumsen-Kratzentanz," was a riot, as the three characters all discover that they are dating each other! McLaughlin as Klaus, a lederhosen-clad, doe-eyed cutie, was pure absurdity at its finest - and the actors were clearly having a blast in this number.
The penultimate act in Ernesto’s Cantina brought us a hilarious Mexican standoff, complete with sombreros and ponchos. McLaughlin’s portrayal of Guillermo, who incessantly interrupted and "corrected" Ernesto, played by Dimanstein, in "The Ballad of Guillermo", was reminiscent of the hilarious dynamic between Chevy Chase and Steve Martin in 'The Three Amigos'. The exaggerated Mexican accents and clichéd characters, from the brash bandit to the passionate señorita, were all delivered with a playful energy. The slapstick humour during "Come Be My Love/Pick Me", where McCormick was literally dragged around the stage as Rosalinda and McLaughlin's moustache kept falling off, had me obnoxiously laughing out loud. Dimanstein’s lead in "Blue Flame" was the evening’s standout number – a perfect blend of impressive vocals with an Abba-style harmonic flair.
The final restaurant, The Star-Lite Diner, brought the show full circle. McLaughlin as the American jock Clutch, paired with McCormick as Kitty, evoked a delightful Grease-like vibe for "It’s a Mystery." The revelation that Kitty has been reading romance novels all along, with these larger-than-life characters merely figments of her daydreams, tied the show together in the cutest way possible. Her final number, "Love Looking Back at Me," was a surprisingly relatable moment of introspection. Dimanstein, in his role as Cupid – quite literally – tied together the various romantic misadventures we’d witnessed throughout the evening.
The set – a restaurant table, heart arch, and a few strategically placed plants – was sweet, with the actors moving on and offstage constantly, keeping the energy high and the pace brisk. The quick changes must have been as chaotic behind the scenes as I imagine, but you’d never know it from the polished performances.
The live band, led by Musical Director Dominic Brennan on keyboard, with Callum Pascoe on drums and Declan Fletcher on bass, provided the perfect accompaniment to the actors’ performances and brought Coffin's catchy tunes to life. Peter Van Brucken’s sound design ensured that every lyric and note was clear, allowing the audience to fully appreciate the witty wordplay and intricate harmonies. Claire Yorston’s lighting design matched the rapid changes in tone and location, keeping the audience immersed in the wild ride.
In the end, Five Course Love was more than a series of romantic misadventures – it was a showcase of extremely versatile performers, smart direction, and witty writing. It was a theatrical feast that leaves you laughing, humming the tunes, and maybe even craving a little romance of your own. If you missed this delectable slice of musical comedy, you truly missed a treat. Here’s hoping this is one course that gets served up again soon!
Photos by Luke Monsour, Bulimba Studios
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