Venue: Seymour Centre (Chippendale NSW), Sep 5 – 14, 2019
Book: Arthur Kopit
Music & Lyrics: Maury Yeston
Director: Alexander Andrews
Cast: Maddison Burton, Sophia Charters, Phoebe Clark, Kelly Goddard, Ellyn Gwillim, Amy Humphrey, Tayla Jarrett, Tisha Kelemen, Katelin Koprivec, Michele Lansdown, Andy Leonard, Victoria Luxton, Matilda Moran, Sarah Murr, Sophie Perkins, Caitlin Rose, Petronella van Tienen, Megan Walshe
Images by Blake Condon
Guido Contini is caving under pressure, unable to start work on another film, after the failure of his last three efforts. Instead his mind wanders, and in the 1982 musical Nine, we see him obsess over all the women he has loved, as though longing for one of them to turn into a muse and solve his writer’s block. An old-fashioned work, with a male protagonist placed firmly at the centre, surrounded by innumerable women often looking disposable, Nine however still boasts some of the finest melodies in the Broadway canon, with Maury Yeston’s songs remaining as stirring as they had always been.
Director Alexander Andrews assembles all the parts proficiently, and his production bears a level of polish that almost glosses over the regressive nature of its gender representations. Antonio Fernandez’s energetic musical direction, Madison Lee’s imaginative choreography, and James Wallis’ multifaceted lighting design, all combine to deliver an enjoyable, if slightly too traditional, musical extravaganza.
A cast full of conviction, determined to bring vibrancy to the stage, with Andy Leonard in the leading role, offering nuance in his acting, but not quite satisfactory in terms of vocal requirements for several of his songs. The quality of singing is in general slightly disappointing, although it must be noted that the “Folies Bergeres” number is performed with remarkable wit, by Katelin Koprivex as Stephanie and Michele Landsown as La Fleur, both impressive with the vigour they introduce for their memorable scene.
Writing can date, but theatre must always be made for now. Some works need a greater attempt at innovation, so that they can speak more resonantly with audiences of the time, and Nine is certainly an example of how a relic should be updated to match conversations of the day. Many will find it jarring to see so many women on this stage serving no other purpose than to facilitate the narrative of a man in delusion. For many others though, the sheer pleasure of hearing these splendid songs, is more than enough to make up for its political faux pas.