Ladies in Black

Southbank Theatre, The Sumner, Melbourne, February 4

Kathryn McIntyre, Kate Cole, Christen O’Leary, Naomi Price, Lucy Maunder, Deidre Rubenstein, Carita Farrer Spencer

Kathryn McIntyre, Kate Cole, Christen O’Leary, Naomi Price, Lucy Maunder, Deidre Rubenstein, Carita Farrer Spencer. Photo: Rob Maccoll

Enchanting. That’s the word you keep hearing when people discuss the new Australian musical Ladies in Black – and enchanting it is.

It’s wonderful to see an Australian musical that succeeds so well as a show, feels distinctively Australian and strikes such a chord with audiences. What’s more, unlike hit musicals Priscilla Queen of the Desert and The Boy From Oz, which use existing songs, Ladies in Black has an original score written by Tim Finn.

It was Finn who initiated the project, having had his interest piqued in writing a musical after a dozen of his pop songs were used in Poor Boy, a 2009 play with music by Matt Cameron. Finn approached Simon Phillips, the director of Poor Boy, who quickly became interested in the idea of Ladies in Black and agreed to direct it, bringing his wife Carolyn Burns on board to write the book, which is adapted from Madeleine St John’s 1993 novel The Women in Black.

Regular Phillips collaborator Gabriela Tylesova was enlisted to design set and costumes, Guy Simpson joined the team as orchestrator and musical supervisor, with Andrew Hallsworth as choreographer and David Walters as lighting designer. Together, they proved to be a match made in heaven and the results are a true delight.

Produced by Queensland Theatre Company, Ladies in Black premiered in Brisbane in November and was then presented by Melbourne Theatre Company in Melbourne, where it opened in January and runs until February 27.

Set in Sydney in the 1950s, it tells the coming-of-age story of high school leaver Lisa Miles; a story which embodies the changing role and status of women in Australia at that time. It’s also about a city and a country on the cusp of becoming cosmopolitan thanks to the influx of European immigrants or “continentals” as the Australian characters call them.

LadiesChristen

Christen O’Leary as Magda and Sarah Morrison as Lisa. Photo: Rob Maccoll

Lisa, who is super-bright, wants to go to university if she gets the high grades anticipated. Her mother is supportive but her working class father won’t have a bar of it. As he sees it, a secretarial course is more than enough education for a woman; he’s already been generous in letting her stay on at school.

Over the Christmas holidays, Lisa gets a job at Goodes, Sydney’s most prestigious department store (a thinly disguised David Jones). Naïve and mousey when she starts, her horizons are rapidly expanded by the two women she assists in Ladies Cocktail Frocks, Patty and Fay, and particularly by the enigmatic Magda, a Hungarian refugee, who oversees the more exclusive attire in Model Gowns.

Magda takes a shine to Lisa and invites her home to meet her husband Stefan, where Lisa is excited by the chance to taste different food, discuss literature, dance and glimpse a far more bohemian, cultured, passionate lifestyle.

Woven through this narrative are the stories of Patty, who desperately wants a child but whose husband walks out on her when the infertility problem seems to be his, and Fay, a lively young woman with a past who would dearly love to settle down but who can’t find a man who wants more than a brief fling.

Burns’ book skilfully juggles the various stories and while it doesn’t go into great depth, the characters are well enough drawn and so beautifully performed that we believe in them, warm to them and care about them all.

In a succinct piece of storytelling, we also meet the lonely, kindly Miss Jacobs, whose fiancée was killed during the First World War. In a few brief moments we learn enough about her to be very moved by a short scene showing her at Christmas.

Finn’s music, which ranges in style from country ballads to soaring romantic odes to comedy numbers, is charmingly melodic. There isn’t a big 11 o’clock number, which wouldn’t go astray. Instead, the show ends with a reprisal of a song called “Tomorrow Becomes Today”.

The lyrics, also written by Finn, are sharp and witty, drawing on the Australian vernacular to great comic effect in numbers including the show-stopper “He’s a Bastard”, which gets a huge response. Fay’s song “I Just Kissed a Continental” is also joyously uplifting.

Performed by a six-piece band led by musical director David Young, the thoroughly engaging score has been given some lovely arrangements by Simpson.

Phillips, whose musical theatre credits include Priscilla, Love Never Dies and The Drowsy Chaperone among others, directs with consummate flair, keeping the action moving swiftly and seamlessly, aided by the three stage revolves incorporated into Tylesova’s design. Together with Hallsworth’s choreography, all the moments land from poignant moments of quiet drama to the exuberant showpieces.The only scene that feels under-staged (because of cast size and logistics) is Magda’s New Year’s Eve party where Magda essentially narrates what happens (including Lisa meeting a young man) and we just see silhouettes of people dancing.

Tylesova’s set features several Perspex pillars to suggest the elegance of Goodes, along with various props from clothing racks to tables and chairs, which appear quickly for the different settings. Her costumes are just gorgeous from glamorous gowns to colourful cotton frocks to 1950s beachwear.

LadiesinBlack4

Kate Cole and Lucy Maunder (front); Naomi Price, Deidre Rubenstein and Christen O’Leary (behind). Photo: Rob Maccoll

The cast is uniformly terrific – and given that the musical is primarily about women, it’s wonderful to see such a large, strong female cast. Sarah Morrison convincingly portrays Lisa’s gradual blossoming from shy, gauche youngster to confident young woman ready to face a brave new world. And, yes, she wears glasses initially which are later removed – a well-worn trick but one that works.

Lucy Maunder brings a luminosity and vulnerability to Patty, subtly conveying her confusion and heartache when her husband leaves. Naomi Price is wonderfully vivacious as Fay, and has us all rooting for her to find love. Christen O’Leary brings just the right level of exoticism to Magda, while the warm, loving, playful relationship she has with her Hungarian husband is delightfully evoked by her and Greg Stone.

Deidre Rubenstein gives a touching performance as the lonely Miss Jacobs, Carita Farrer Spencer conveys a quiet strength as Lisa’s mother, while Kate Cole and the very funny Kathryn McIntyre, both impress in double roles.

As the men in the women’s lives, Stone is excellent, giving two very different performances as Lisa’s disciplinarian, working class father and Magda’s loving, supportive husband. Bobby Fox is heartwarmingly charming as Rudi, another young Hungarian refugee and friend of Magda’s, and gets to dazzle with some fancy footwork, while Andrew Broadbent captures the emotional repression of Patty’s “bastard” Aussie husband Frank, later revealing the shame and hidden pain he is struggling with.

While tackling themes including the cultural cringe, sexism and xenophobic attitudes to refugees, Ladies in Black doesn’t dig that deep in its exploration of the era and has a light, almost fairytale feel to it. Nonetheless, the issues are still strongly felt and we care about all the characters. It’s a beguiling, joyous show and sent me home floating on air. Hopefully someone will bring it to Sydney – it certainly deserves to be more widely seen.

Ladies in Black plays at The Sumner, Southbank Theatre until February 27. Bookings: www.mtc.com.au or 03 8688 0800

Advertisements

Rumour Has It

Drama Theatre, Sydney Opera House, January 5

3ee20cc95a0b940670abed65b603c667

Naomi Price as Adele in Rumour Has It.

Naomi Price has been performing Rumour Has It, her cabaret show about Adele, to considerable acclaim since premiering it in Queensland in late 2012.

With the boost in profile she has enjoyed as a finalist in The Voice 2015, she has been filling the Drama Theatre at the Sydney Opera House, performing eight shows over four days (January 3 ­– 6). The chart-topping success of Adele’s recently released album 25 can’t have hurt the show’s appeal either.

Price is certainly a talented performer. She has a good range of textures to her voice and a strong vocal technique. She also has a confident ease on stage, a robust sense of humour and is quick off the mark when bantering with the audience – the majority of whom clearly loved the show.

So why was I less enthusiastic than most of those around me?

What Price doesn’t have – or doesn’t convey in Rumour Has It – is Adele’s soul. She sings the much-loved hits (Chasing Pavements, Rolling in the Deep, Someone Like You and the Academy Award-winning Skyfall among others) well, but she doesn’t touch you emotionally the way Adele does.

Adele is a hard act to follow, of course, but when you come on stage dressed like her, talking like her and as her, and singing her songs pretty much the way she does, the comparison is inevitable. And when it comes to connecting with the lyrics, Price is no Adele.

My favourite biographical cabaret shows include Christie Whelan Browne’s hilariously funny yet heartbreakingly poignant Britney Spears: The Cabaret and Michael Griffiths’ In Vogue: The Songs of Madonna and Sweet Dreams: The Songs of Annie Lennox (all three written by Dean Bryant).

Both Whelan Browne and Griffiths used the first person (though Griffiths made no attempt to impersonate Madonna or Lennox) and reinterpreted the songs using strikingly different new arrangements. Crucially, both offered a fascinating insight into the artists they were representing using their songs to comment on their life and creativity as well as themes such as celebrity.

Price – sporting a red wig and padded outfits to give her a little extra ampleness – gives us a much more straightforward representation of Adele. The show, co-written with Adam Brunes, offers a fairly bare bones synopsis of her life from working class lass in Tottenham to one of today’s biggest soul divas. Any time Price seems about to give us some genuine insight, she tends to veer off into a joke.

She’s clearly a terrific mimic (she does a hilarious send-up of Celine Dion) and she nails Adele’s accent and colourful turn-of-phrase, though makes her more consistently potty-mouthed than Adele actually is. And while Adele is famously forthright and candid, there’s a humility to her that doesn’t quite come across here. Instead, the focus is more on a brassy feistiness.

Performing with a four-piece band under the musical direction of exceptional guitarist Jason McGregor plus three backing vocalists including Price’s partner Luke Kennedy, runner up on The Voice 2013, the show is impressive musically. It looks good too, simply but stylishly staged with a galaxy of hanging lampshades.

In a tongue-in-cheek riff on reality TV shows, Price shows what good comic chops she has, and I found myself wishing she was doing her own cabaret and just including some Adele material in it.

But for me, Rumour Has It feels too much like mimicry, minus Adele’s extraordinary soulfulness. And without a great deal of insight into what makes Adele the artist she is, I was left feeling that something was missing. But for many of the audience, Price clearly gives them exactly what they want.

Rumour Has It has two final shows at the Sydney Opera House today at 5pm and 8pm.