The audience for this play requires a sense of humour that appreciates over-the-top family dynamics, melodramatic ghost stories, and a love of good music.

On her 38th birthday, Mandy’s business, a Karaoke Bar “ Money Money Karaoke” in Australia, needs customers. She’s fighting financial disaster, despite the red and gold décor.

Mandy (played by playwright Merlynn Tong) vents her anxieties to her boyfriend Xavier (Zac Boulton in his mainstage debut). She doesn’t hold back. He’s the perfect foil to her histrionics. He peppers the show with Dad jokes. And he demonstrates he can straddle both cultures.

Mandy’s birthday coincides with the seventh day after the Chinese New Year, a time when families traditionally come together to celebrate. Two prospective customers emerge, providing Mandy with temporary relief. But of course, that doesn’t last. The “customers” are her dead mother and grandmother, both of whom died at the age Mandy is now – 38. The show turns into a classic Chinese ghost story, replete with attempts to feed the ghosts and their unwillingness to return from whence they came.

Her mum (Seong Hui Xuan) loves karaoke. Her grandmother (Kimie Tsukakoshi) loves money. The internecine family disappointments of the mother/daughter relationships entertain us as we reflect on our families and realise they aren’t quite that bad.

The music was fabulous. The songs, by Guy Webster, werer the highlight of the show. I could see it working as a cabaret show. The delivery by the women was enthralling.

Singapore Repertory Theatre, La Boite Theatre and Sydney Theatre Company collaborated to produce the show. After the Brisbane Festival and the celebration of La Boite’s 100th year, the show goes to Singapore (29 Oct to 9 Nov). That’ll be interesting. I suspect they’ll get the intergenerational dramatics, but may find the Aussie bloke a mystery. I’ll be interested to find out what the Singaporean audiences think of the show.

Cross-cultural communication is tricky at best, and requires a lot of generosity. Add humour and you can expect a few blank faces. This show is ambitious, playing to both audiences.

From Singapore, it travels to Sydney (21 Nov to 14 Dec).

Tong’s ghost musical may be able to entertain both Singaporean and Australian audiences. I suspect the play would benefit from adaptations. The number of shrill darknesses could be reduced for the future Sydney audience.  I found they were too strong for the joy that the musical numbers brought. But maybe Asian ghosts can only be gotten rid of in darkness and with raucous sound.

The play resolved with the ghosts leaving willingly. But now Mandy knew more about her mother and grandmother. That helps, if only to avoid their mistakes.

We, the audience, are very welcome customers in the “Money, Money Karaoke Bar”.

Director Courtney Stewart, Set & Costume Designer James Lew, Lighting Designer Gabriel Chan, Composer & Sound Designer Guy Webster, Dramaturg Jules Orcullo, Music Director Alex Van den Broek, Fight & Intimacy Director NJ Price, Stage Manager Peter Sutherland, Assistant Stage Manager Briana Clark and Director Observers Buddy Malbasias, Jazz Zhao and Vanessa Gordon

On at La Boite until 20 September. Book here. https://laboite.com.au/shows/congratulations-get-rich

Kerry McGovern

MEDIA_CREDIT:STEPHEN HENRY