Venue: The Depot Theatre (Marrickville NSW), Sep 19 – Oct 6, 2018
Music: Andy Peterson
Book and lyrics: Alex Giles, David Russell
Director: Kaleigh Wilkie-Smith
Cast: Melody Beck, Levi Burrows, Steph Edmonds, Luke Lamond, Michele Lansdown, Peter Meredith, Haji Myrteza, Harrison Riley, Emma Taviani
Images by Grant Leslie
The story takes place in a town ruled by the heartbroken, where all physical contact is forbidden, but where its inhabitants are encouraged to police and lust after each other, using only their eyes and binoculars. In Stalker The Musical by Alex Giles, Andy Peterson and David Russell, a fantasy world is created out of dejection, with a great deal of palpable ambition, but neither its creativity nor its imagination prove convincing enough, to entice us into its outlandish manifestations. We observe it to be an oddity, a strange concoction of ideas, that struggles to find resonance on any level.
Every song sounds overly familiar, as though a paint-by-numbers take on the musical theatre genre, unoriginal and painfully predictable. Problems with sound engineering on opening night, certainly do not help with the experience.
The cast, although likeable and committed, struggle with the production’s attempts at comedy and drama, unable to make any meaningful or lasting impact with the material. There is an abundance of energy and conviction on stage, with Zoe Ioannou’s clever choreography bringing some visual coherence to the show, but the performers are consistently let down by the writing’s deficiencies.
Love is a bad word in Stalker, and those who have denounced romance, however momentary, will understand the necessity of being able to see one’s own existence as independent and sovereign, before the joys of life can be truly appreciated. Characters in the show may or may not find their romantic match, but more important is their capacity to love, whatever the objects of desire turn out to be.