𝐓𝐇𝐄 𝐏𝐄𝐑𝐅𝐄𝐂𝐓 𝐋𝐈𝐅𝐄 𝐑𝐄𝐕𝐈𝐄𝐖
𝐀𝐫𝐭𝐬 𝐓𝐡𝐞𝐚𝐭𝐫𝐞 - 𝐓𝐡𝐮𝐫𝐬𝐝𝐚𝐲 𝟏𝟗 𝐌𝐚𝐫𝐜𝐡 𝟐𝟎𝟐𝟔

Writing and staging a musical is no small feat. Yet Amity Dry has written, staged, and produced The Perfect Life, and even stepped into a role herself. How this has been achieved is something I can’t begin to answer, but what I witnessed last night was a triumph for local Adelaide talent.

The Perfect Life explores motherhood and friendship through four distinct characters. As reviewers, James and I are not mothers, and I’ll admit we were sceptical about how much we would connect with the story. We needn’t have been.

Each character is so well drawn that you’re bound to recognise yourself in at least one of them. It’s a sharp, often hilarious, and ultimately devastating exploration of regret. Sliding doors. What could have been. The myth of the “perfect life”. Or as the old line goes - get married or don’t, regret it either way.

The music is heartfelt and beautifully written, grounding the show in emotional honesty while still allowing space for humour. Having previously seen Kerrie Anne Greenland and Chloe Zuel in other professional productions, it was my first time seeing Dee Farnell - and what a standout. Her portrayal a mother of three, was exceptional and delivered some of the show’s funniest moments.

Amity Dry delivers her role with depth and authenticity, capturing both the vulnerability and quiet strength of a woman navigating life after children and a failed marriage. Kerrie Anne Greenland is equally compelling, bringing nuance and emotional precision to the role of a corporate lawyer facing the unexpected realities of single motherhood. Chloe Zuel plays a millennial returning home from abroad to care for her sick mother, with warmth and relatability.

What truly elevates the production is the way all four women work together, their chemistry is seamless, and their voices blend beautifully in harmony, creating moments that feel both powerful and intimate.

Just when I thought the themes might not fully resonate with me, there was a moment that completely shifted my perspective. “Don’t Care,” performed by Chloe Zuel, was a highlight, sharp, funny, and unexpectedly relatable. It proved that this musical isn’t solely about motherhood, but about friendship, identity, and the shared experiences of women, including those who haven’t had children.

This production has the potential to grow into something significant, reminiscent of the success of Menopause the Musical. When you see a project created with this much heart and authenticity, you can’t help but want it to succeed. The staging, lighting, and band were all excellent, supporting the story without overshadowing it. I sincerely hope The Perfect Life receives the accolades it deserves.

This homegrown musical that has travelled the world, from Adelaide Fringe to New York, the UN and beyond, before being interrupted by the pandemic. It deserves this rebirth - and Adelaide should be proud to have it back.

Betty Samis & James Murphy
All About Entertainment Reviewers