Venue: Hayes Theatre Co (Potts Point NSW), Oct 12 – Nov 3, 2018
Book & Lyrics: Hugo Chiarella
Music & Lyrics: Naomi Livingston
Director: Kate Champion
Cast: Amanda Harrison, Loren Hunter, Keegan Joyce, Tim Draxl, Jo Turner, Bishanyia Vincent
Images by Nik Damianakis
In Hugo Chiarella and Naomi Livingston’s musical Evie May, a queer woman from early last century takes centre stage, to tell a story of lost loves against a backdrop of bittersweet nostalgia. We watch as our protagonist’s star rises, revelling in her achievements as an illustrious vaudeville performer, but also mournful of the sacrifices demanded of her, in a world that simply would not allow a woman to be her true self. Evie May is a strong work, beautifully imagined and executed with admirable integrity. Its narrative is intelligently constructed, with songs that are memorable yet unusually tasteful.
The show feels somewhat anomalous. In an industry that seems to thrive on relentless exhilaration, the languid melancholy of Evie May is paradoxically refreshing, sustained by a palpable desire to authentically represent a woman genius from our recent past. Director Kate Champion’s approach is elegant, often understated, and although visually underwhelming, her show is ultimately a moving one, profound in the messages it is able to convey. The characters come from a different time, but they all exist to impart something meaningful, and valuable, to how we see ourselves, then and now.
Within a no frills set up, the cast prove themselves more than proficient, at a lot of heavy lifting. The ingenue version of Evie, is played by bona fide triple-threat Loren Hunter, whose powerful acting and mesmerising dulcet tones, has us hopelessly engrossed in her character’s captivating melodrama. Amanda Harrison brings star quality to Evie at her early retirement age, a confident presence, thoroughly reliable as the production’s heart and soul, on which all the action anchors. Love interest June is played by a very delightful Bishanyia Vincent, effervescent as flamboyant showgirl and deeply poignant as the one who got away. Vincent is equally persuasive in the role of Margaret, Evie’s sister, a difficult personality made worthy of compassion by the actor’s detailed rendering.
It is convenient to think that the worst of our oppression as LGBTQ women are over, but Evie May’s story is not just a relic of yesteryear. The compromises we have to make, in order to succeed, or simply to survive, continue to be unreasonable and unjust. It is a modern Australia, but we must not live in the delusion that the straight white man has relinquished his position as top dog. Until our girls can walk into any space they choose, there is still much to fight for.