Beyond Desire

Hayes Theatre Co, November 26

Nancye Hayes and Chloe Dallimore. Photo: Oliver Toth

Nancye Hayes and Chloe Dallimore. Photo: Oliver Toth

In development off-and-on for 25 years, the musical Beyond Desire finally has its world premiere at the Hayes Theatre Co. It’s by no means an unqualified success but the music is lovely, with potential for further development of the show as a whole.

Written by Neil Rutherford (book and lyrics) and Kieran Drury (music), Beyond Desire is an Edwardian murder mystery inspired by Hamlet, with elements of E.M. Forster’s Maurice and a healthy dash of Upstairs Downstairs and Downton Abbey.

There’s also a cute Mousetrap-like coda in which the cast ask you – in song – not to reveal the mystery. To be honest, it’s fairly easy to guess what’s going on in the first act and though the show takes a few more surprising twists and turns in the second, not all are convincing.

Beyond Desire is essentially an entertainment: a melodrama lightly laced with serious themes including class and forbidden love.

Set in 1910, Anthony (Blake Bowden) is holidaying in Italy having just graduated from university when he receives a telegram from his mother Louise (Chloe Dallimore). His father Edward (Phillip Lowe) has been found dead in a London hotel room.

The police rule it a suicide but Anthony is suspicious, particularly since Louise marries Edward’s former business partner George (Tony Cogin) shortly afterwards. What’s more, George figures prominently in Edward’s will.

Phillip Lowe and Blake Bowden. Photo: Oliver Toth

Phillip Lowe and Blake Bowden. Photo: Oliver Toth

Together with his university friend James (Ross Hannaford) – who has arrived at the behest of Louise – the melancholic, angry Anthony sets out to discover what really happened.

Making up the household are the housekeeper Mrs Milson (Nancye Hayes) who makes sure she knows everyone’s business, her daughter Emily (Christy Sullivan) who is a maid, and a manservant Syd (David Bulters).

The music, which combines an Edwardian feel with contemporary resonances (Sondheim, Wildhorn, Schonberg & Boublil), is beautiful and emotive. The arrangements for piano, violin, cello, harp, clarinet and horn are lush and sensitively performed by the six-piece band led by musical director Peter Rutherford.

The lyrics, however, are uneven, verging on workmanlike at times, rarely revealing psychological depth. For the most part, the characters sing about the situation they’re in, without adding a great deal more to what we already know.

A poignant duet between Emily and James about their respective love for Anthony is one of the exceptions and a highlight.

Having chosen to present an Edwardian melodrama, Rutherford could have had more fun with the genre and also sharpened the book to build more tension in a show that revolves around deception and secrets. Instead, it’s a bit of an uneasy mix, with audiences not quite sure at times whether they are meant to be laughing or taking it all very seriously.

Rutherford also directs. In fact, his hand is all over the production. Take a good look at the names of the set designer (Luther Forinder) and orchestrator (Leon Ferrithurd).

The costuming is excellent (presumably borrowed as there is no costume design credit). The set isn’t wildly attractive but it works OK in the small space, quickly reforming into various configurations for different settings – though with the band sitting behind, it does all look rather cramped. The lighting meanwhile (Nicholas Rayment) is somewhat heavy-handed.

The production boasts impressive performances from the entire cast. The singing is terrific – though the sound is over-amplified. And the underscoring is sometimes distracting, making it difficult to hear dialogue.

Hayes is outstanding as Mrs Milson, understanding the melodrama style instinctively and bringing just the right amount of tongue-in-cheek fun to her portrayal. It’s a hugely enjoyable, precisely judged comic performance – and a delight to see her making her debut in the theatre that has been named in her honour.

Ross Hannaford and Nancye Hayes. Photo: Oliver Toth

Ross Hannaford and Nancye Hayes. Photo: Oliver Toth

She is matched by a winning performance from Sullivan as the young maid Emily, which feels truthful and heartfelt (accent and all), while Bowden is in glorious voice as Anthony. But all the cast have their moments.

Despite the flaws, I still found the show entertaining. It’s refreshing to be taken into a different kind of musical world to the ones we have been seeing on our stages of late. The tone could do with finessing and some tightening would sharpen it (it runs around two hours and 45 minutes including interval) but there is potential for further work.

The theatre program, presented as a 1910 London newspaper, is a nice little touch.

Beyond Desire runs at the Hayes Theatre Co until December 14. Bookings: www.hayestheatre.com.au or 8065 7337

 

A version of this review ran in the Sunday Telegraph on November 30

 

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Not a Launch: Hayes Theatre Co 2015

Hayes Theatre Co, September 29

Blazey Best, Hilary Cole, Mike McLeish and Cameron Holmes as the Truswell family in Miracle City. Photo: Kurt Sneddon

Blazey Best, Hilary Cole, Mike McLeish and Cameron Holmes as the Truswell family in Miracle City. Photo: Kurt Sneddon

“It’s not a launch,” said David Campbell. “It’s just a release of information.”

Whatever it was, it was a great way to introduce the Hayes Theatre Co’s program for the first half of 2015 with performers on hand to sing numbers from the shows featured, and to give us a preview of the final shows for 2014.

British director Neil Rutherford introduced Beyond Desire, the new musical for which he has written book and lyrics, with music by Kieran Drury, which will play at the Hayes from November 21 to December 13.

Beyond Desire is an Edwardian murder mystery, inspired in part by E.M. Forster’s novel Maurice, which Rutherford described as “Downton Abbey meets Hamlet”. It will feature contemporary music inspired by the period, with influences of Elgar and Debussy. The score will be performed by a six-piece orchestra.

Nancye Hayes, who plays a housekeeper, sang an amusing number about family secrets, in costume complete with a tray of tea and sandwiches. It will be the first time Hayes has performed at the venue named after her. After that performance, I can’t wait.

The 2015 season begins in January with a production of the Pulitzer Prize-winning musical Next to Normal by Geelong’s Doorstep Arts (January 8 – February 1). Introduced by the company’s founding director Darylin Ramondo, the production will feature Natalie O’Donnell as Diana, the suburban mother with worsening bipolar disorder and delusional episodes.

The cast will also include Alex Rathgeber and Anthony Harkin. O’Donnell performed I Miss the Mountains in which Diana sings about missing the dizzy heights of her non-medicated state.

In February, Enda Markey produces Blood Brothers (see related feature) with a fabulous cast led by Helen Dallimore, Michael Cormick, Blake Bowden and Bobby Fox. Running February 6 – March 8, Dallimore gave a taste of things to come with a medley of Easy Terms and Tell Me It’s Not True.

In May, Neil Gooding presents Dogfight with music and lyrics by Benj Pasek and Justin Paul, and book by Peter Duncan, all still in their 20s.

Based on the 1991 film starring River Phoenix, it tells the edgy story of three young men on their way to Vietnam who attend a “dogfight” the night before they leave at which they compete to bring the ugliest date, out of which emerges an unusual love story.

The show premiered off-Broadway to generally good reviews in 2012 and was staged at London’s Southwark Theatre in August to more mixed reviews.

Johanna Allen, who will play the prostitute Marcie, sang a number called Pretty Funny, performed in the show by the leading lady Rose. Dogfight runs May 1– 31. Gooding said that Pasek & Paul will hopefully come to Australia towards the end of the season and conduct some workshops and masterclasses.

Meanwhile, Miracle City by Max Lambert and the late Nick Enright plays at the Hayes from October 17 to November 16. The keenly anticipated revival of the musical, which had a brief work-in-progress season at Sydney Theatre Company in 1996, will be a brand new show directed by Darren Yap.

Described by Campbell as “a shitload of fun”, Miracle City is inspired by US televangelists Jimmy and Tammy Bakker. Telling the story of the Truswell family, it is set in real time during a live-to-air evangelical television show.

Blazey Best, Mike McLeish, Hilary Cole and Cameron Holmes who play the Truswell family performed the song Miracle City, a very funny, jaunty, gospel hoedown in which they sing about the Christian theme park they are building. The song was the first they wrote, said Lambert, but didn’t make it into the original show.

It was a spectacular way to end the evening and a fantastic teaser for Miracle City.

Sweet Charity, the Hayes’ inaugural, sellout production, which won three Helpmann Awards, will tour in 2015. A Canberra season has already been announced for February with other dates to be confirmed.

Details can be found at www.hayestheatre.com.au