Go Your Own Way, the Story of Christine McVie: review

Slide Lounge, June 27

Catherine Alcorn with Marty Hailey and Tamika Stanton. Photo: Kurt Sneddon

Catherine Alcorn with Marty Hailey and Tamika Stanton. Photo: Kurt Sneddon

Catherine Alcorn made her mark on the Australian cabaret scene with her debut show The Divine Miss Bette, in which she stepped into Bette Midler’s shoes.

Now, for her second offering, Go Your Own Way, the Story of Christine McVie, she takes on “the other woman” in Fleetwood Mac.

Christine McVie is nowhere near as colourful a character as Midler, which gives the show’s writer Diana Simmonds less to play with. The English-born singer/songwriter is apparently living a quiet life in her homeland with her beloved dogs and by all accounts is perfectly happy not to be part of Fleetwood Mac’s current reunion tour – though she herself has said little about it publicly.

There was the tumultuous time the band went through when recording Rumours, during which Christine and husband John McVie were breaking up as were Stevie Nicks and Lindsey Buckingham, which is naturally dealt with, and a relationship with Beach Boys drummer Dennis Wilson.

But overall there’s not a great deal of drama to McVie’s story. Simmonds (who was brought in late) takes a fairly straightforward, chronological approach to the narrative but laces it with some nice, deadpan, throw-away humour and some of the lingo from the 60s and 70s to give it some spice.

She also gives voice to Nicks at one point via backing vocalist Tamika Stanton – an effective device that might perhaps be worth exploring a little more.

Musically, the show is a cracker. The set list of songs (all written or co-written by McVie with the exception of Go Your Own Way by Buckingham) is fantastic: The Chain, Little Lies, As Long as You Follow, Say You Love Me, Over My Head, Don’t Stop, You Make Loving Fun, Oh Daddy, Everywhere, Songbird and, course, Go Your Own Way.

The enduring popularity of Fleetwood Mac’s music (given a boost in 2011 when Glee covered six tracks from Rumours) means that the show will have great appeal to Mac fans and indeed anyone who likes that period of music.

What’s more, Alcorn sings it superbly – arguably better than McVie herself. She has a rich, powerful voice, which she uses with sensitivity and skill, and a big, warm stage presence.

Starting the show in the present day, she removes a tailored jacket, loosens her hair and dons a mauve, fringed and sequined kimono-like jacket to take us back to the start of Christine Perfect’s (as she was born) career, adopting a light English accent and a slightly lower register than normal for the dialogue. A number of rugs thrown onto the stage help lend the space something of a hippie feel.

Alcorn is backed by a terrific three-piece band led by musical director Isaac Hayward on keyboard, with Marty Hailey on guitar and Nick Cecire on drums. Stanton and Hayward provide strong backing vocals.

Having debuted at the Adelaide Cabaret Festival and then performed it at the Melbourne Cabaret Festival, Alcorn will presumably now go her own way with the show – and if she has half the success she has had with The Divine Miss Bette, she’s onto a good thing.

Meanwhile, The Divine Miss Bette has a season at Sydney’s Glen Street Theatre in Belrose from July 23 – 28.

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