“Love, sweet love” is certainly What the World Needs Now, and there was an abundance of love traveling back and forth across the footlights as a terrific featured cast of singers joined the mighty Melbourne Symphony Orchestra in tribute to legendary songwriter Burt Bacharach.

Composer of some 73 US Top 40 songs and winner of two Best Song Academy Awards, Bacharach had an extraordinary talentfor penning memorable melodies. Working chiefly with lyricist Hal David, Bacharach’s songs were performed and covered byscores of artists, from Dionne Warwick to Dusty Springfield, from The Beatles to Oasis, from Tom Jones to John Farnham.

Staged by creative director Mark Sutcliffe, What the World Needs Now: A Celebration of Burt Bacharach is a suitably lavish affair, featuring more than two dozen songs performed by the Melbourne Symphony Orchestra, guest musicians, backing vocalists, and a diverse and dazzling set of four lead singers.

For this Australian premiere performance, the cohesive quality of the concert was impressive given that two key figures had needed to be replaced due to illness. Conductor Leonard Weiss took the podium in place of Benjamin Northey and, more dramatically, singer Jess Hitchcock substituted for Emma Pask with only a day’s notice. 

Giving his utmost attention to the orchestra, Weiss helmed a sumptuous musical performance, beginning with a spine-tingling overture filled with lush orchestrations of instantly recognisable Bacharach tunes. 

Bacharach’s songs have a distinctive sound, which tends to be carefully engineered in the recording studio. Performing the songs live was a challenge for Bacharach’s sole Broadway musical Promises, Promises (1968) and there is a degree of that similar challenge experienced here. The challenge is ably met by the presence of wonderful backing vocalists Chantelle Ormandy and Siobhan Ormandy, and additional musicians: maestro Michael Tyack (keys), Troy Downward (guitar), Craig Newman (bass), and Kieran Rafferty (drums). Rafferty played a key role in counting the musicians and singers in for most songs using the crisp clicks of his drumsticks.

Every song is newly arranged for the concert, with arranging duties shared between Nicholas Buc and Jessica Wells. Buc has particular success, delivering not only the terrific overture but also an exquisite “Close to You,” a stirring “God Give Me Strength,” and a lush “One Less Bell to Answer / A House is Not a Home.” Highlights from Wells include a gentle arrangement of 1966 hit “Alfie.”

The concert has a sophisticated feel, with atmospheric lighting by Peter Rubie and numerous changes of elegant evening wear for the singers. Sound balance was still being perfected in the first half of the performance, with singers’ vocals not quite forward enough in the mix. Sound significantly improved in the second half, with the singers themselves also really warming up into the wonderful material. 

To be mentioned only for the charismatic comeback, multiltalented crooner David Campbell missed the first lyric of opening song “Always Something There to Remind Me,” readily charming the audience by owning the flub and moving on with trademark flair. Campbell shone in act one with “This Guy’s in Love with You,” immediately followed by  “I Just Don’t Know What to do with Myself.” He later brought act two to a memorable start with the haunting “God Give Me Strength.”

Deftly switching between comic brass and heartfelt pathos, leading lady Caroline O’Connor made her mark with “Anyone Who Had a Heart,” moving on gently to “Knowing When to Leave” and “You’ll Never Get to Heaven If You Break My Heart.” 

Special mention at this point of vocalist Chantelle Ormandy, who was included on the bill as a soloist for an immaculate rendition of “Alfie.” Ormandy later replaced Pask, joining O’Connor for choice duet “One Less Bell to Answer / A House is Not a Home.” This act two highlight was a great example of two mature, expressive singers at their very best. 

More than holding her own alongside more experienced performers, Thndo brought a welcome sound of soul to the concert. “Only Love Can Break A Heart” was an early highlight and Thndo practically walked away with the whole concert singing the gorgeous arrangement of “Close to You.”

As an eleventh hour substitution, Hitchcock had access to sheet music for her numbers and yet only made sparing use of this, refelecting an incredible effort in preparation. Hitchcock connected with the audience singing “Wives & Lovers,” later bringing tender passion to “Falling Out of Love.”

Sharing ready chemistry with any and all colleagues, Campbell frollicked with O’Connor in “I’ll Never Fall in Love Again,” charmed with Hitchcock in “On My Own,” and broke hearts with Thndo in “Make It Easy on Yourself.”

Under Sutcliffe’s judicious direction, the concert featured minimal dialogue, focussing primarily on the cavalcade of hit songs. Campbell and O’Connor are natural hosts, and once again proved themselves warm and engaging in moments of banter. 

A classy, lovingly prepared affair, What the World Needs Now: A Celebration of Burt Bacharach was pure entertainment featuring many a memorable moment. Future presentations of the concert are not to be missed by Bacharach fans, a broad category that cannot help but include us all. 

What the World Needs Now: A Celebration of Burt Bacharach played at Hamer Hall, Arts Centre Melbourne, 1pm and 7.30pm Saturday 22 June 2024.

The What the World Needs Now: A Celebration of Burt Bacharach program can be read online. 

Photos: Nico Keenan