In a city where the thriving musical theatre scene is largely dominated by revivals of West End and Broadway musicals, it is refreshing to come across original work with the charm and appeal of The Rokitelly Man, currently playing at the intimate Belconnen Community Theatre.

Five years in the writing, Michael Heming’s musical about a packaging clerk, Jeremy (Miles Thompson), who dreams of becoming a chief designer at Pembleton’s Toy Emporium with his invention of a remote controlled robot toy, made its debut to an audience of enthusiastic and appreciative friends and relations.

And there is much in this new work to admire. Heming’s book, with its engaging love story, amusing characters and entertainingly garnished with Andrew Hackwill’s catchy tunes and clever lyrics, also takes a light-hearted, satirical swipe at the devious deeds of the ambitious and greedy employees of the toy industry.

As Heming says in his notes: “this is only one stop along the way” and The Rokitelly Man still has a way to go. Too many plot lines weave their way somewhat circuitously through the love story of Jeremy and aspiring cabaret singer, Cindy (Alex McPherson), Miss Pembleton’s attempts to boost sales with the aid of marketing head Richard (Max Gambale), and the secret motives of chief designer Erol Killty (Joe McGrail-Bateup). Heming’s subplots, though entertaining in themselves, tend to subsume the dramatic conflict of The Rokitelly Man’s central narrative.

Director Richard Block has cast his principals well, and there are fine performances from Debra Byrne as the toy emporium owner, Gambale as the ego-inflated marketing manager and McGrail-Bateup as the sneaky toy inventor. Thompson and McPherson play the lovers to perfection and their tender love duet Letter from Paris is an absolute delight. Miriam Miley-Read’s Angela is a comedic gem. Naive and deliciously gauche, she shines in this production and scores a hit with her number Oh My.

What was missing on opening night was sheer pizzazz. Scene changes in blackouts too often interrupted the momentum of the action and the energy of the ensemble. Set changes in view of the audience by the Toy Soldiers could have more effectively maintained the pace of this pleasing-to-watch and easy-to-listen-to musical. Dramatic Productions and Ickle Pickle Productions have done well to create an ingenious and well-designed set with colourful costuming on a limited budget. A recorded score may have been a cheaper alternative to a live orchestra or band, but Hackwill’s tuneful songs deserved the variety and energy that comes with live accompaniment.

Original, home-grown and enjoyable family entertainment, The Rokitelly Man takes a small step for musical theatre and a sizeable leap for new work. This alone makes it worthy of support and further development.