Steven Kramer’s Phar Lap: The Electro-Swing Musical drops us into a whip‑smart and thoroughbred production – even if one barely knows the 1920s legend.
Directed by Sheridan Harbridge, it gallops to glory in the Hayes Theatre. Every imaginable joke and reference touching horses and racing are peppered throughout the musical, adding to the ludicrous nature of the show and audiences laps up every second of it.
The musical focuses largely on Phar Lap’s early years, from the arrival onto Australian shores from Timaru, New Zealand to the scandal at the peak of his career. Kramer’s writing results in punchy and hilarious scenes, adding to the vibrant experience. The electro‑swing score feels both fresh and befitting the roaring 20s. A favourite moment is the ‘Next Biggest Thing’ number where Phar Lap (Joel Granger) makes his grand entrance. The audience is in stitches with the clever horse-emulating choreography (Ellen Simpson) and strong New Zealand accent, altogether painting a hilarious and absurdist introduction to the horse. The momentum does slow down mid‑show around the ‘National Treasure’ number but the show still manages to keep audiences smiling. The recurring Announcer‘s (Manon Gunderson Briggs) rapid-fire race calling effectively pulls the show out of lulls and injects energy into scenes. A memorable example is the ‘Wall Street Crash’ monologue that energetically fuses race commentating and world building, brilliantly showcasing Kramer’s clever writing and Gunderson Briggs’ quick enunciation.
This multitalented ensemble, set (Hailley Hunt) and costuming (Mason Browne) round out the fantastic execution of Phar Lap. All cast members bring a powerful energy to the show, really bringing to the plot to life. Granger’s skilful portrayal of the titular horse is notable, and Lincoln Elliott’s Nightmarch consistently steals scenes with top-notch mannerisms. The tap dancing scenes are delightful, impressive and well choreographed and added to the absurdism. However, it was a little disappointing that the audible taps were recorded rather than live. The performers still do an excellent job with the footwork, and it’s understandable why it was not live, but it would have added to the overall execution. Browne’s choreography was thoroughly enjoyable and expertly utilised Hunt’s terrific set. The musical turns the intimacy of the Hayes Theatre into advantage, with every cast member showcased and bringing an irreverent humour to the show. The combination of the cast’s high calibre, Hunt’s set and Browne’s choreography give the show a crisp and high-quality edge.
Original musicals are rare, and ones as fantastic as Phar Lap are even rarer. Phar Lap proves that when sharp writing and vibrant scores are supported with polished choreography and set design, even unfamiliar audiences can care about a 1920s racehorse in 2025. It reframes an Australian icon with wit rather than pure reverence, keeping the (big) heart without the veneration. Even with a mid‑show lull, the overall production is strikingly polished. Regardless of one’s interest in fast horses, just as Phar Lap (the horse) was one to watch in ‘the race that stops the nation’, Phar Lap (the electro-swing musical) is unquestionably the musical to watch.
