Venue: Hayes Theatre Co (Potts Point NSW), Mar 6 – Apr 5, 2020
Book: Marsha Norman (based on the novel by Robert James Waller)
Music & Lyrics: Jason Robert Brown
Director: Neil Gooding
Cast: Michael Beckley, Anton Berezin, Beth Daly, Kate Maree Hoolihan, Zoe Ioannou, Katie McKee, Ian Stenlake, Grady Swithenbank
Images by Grant Leslie
Theatre review
When we encounter Francesca, she is a housewife in 1960s Iowa, with 2 kids and a husband, seemingly happy to be on a farm living the simple life. A fortuitous meeting with photographer Robert however, reveals that she does want more. The Bridges of Madison County is one of the most famous of American romances, a novella by Robert James Waller that has sold over 60 million copies since its initial publication in 1992. Francesca’s struggles about fulfilling her duties as wife and mother, are presented as completely incongruent with what might be a greater happiness. For a moment, she experiences exhilaration with Robert, but must weigh the consequences should she dare to follow her heart.
This musical version, first created in 2013, features strong songwriting by Jason Robert Brown, but its individual numbers, although delightful, do not necessarily add up to a satisfying plot for the show. Direction by Neil Gooding is able to suffuse a sense of intensity to the emotions being depicted, but the general pace for its storytelling is unsatisfying. Design and technical aspects of the production are on the whole accomplished, with Phoebe Pilcher’s work on lights noteworthy for bringing valuable flamboyance to the staging.
Performer Kate Maree Hoolihan plays a very sentimental Francesca. Her interpretation tends to be simplistic, but proves ultimately to be a moving one. Ian Stenlake looks every bit the National Geographer photographer and love interest Robert, but some of his singing at crucial points are not quite up to scratch. Although evident that the couple works hard to find chemistry, the attraction between the two is never really convincing. Beth Daly and Michael Beckley however are memorable as Marge and Charlie, quirky neighbours who bring occasional but very needed humour to the staging.
In the song “Almost Real”, we hear Francesca talk about her relationship with Chiara, her sister in Naples, who “would open her legs just as easy as speaking.” In her efforts to separate herself from that negative perspective of a free woman, Francesca spends her life doing what she thinks is the right thing, but it is clear that all she does is dedicate herself to being a subject of conformity. Although an indisputably credible character, the writers of Bridges refuse to allow Francesca the gratification she craves, and deserves. We are made to think that to be a good mother, Francesca simply has to give herself up, and that we must all realise, is a lie.
Suzy Goes See 