Review: Evie May (Hayes Theatre)

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

Theatre review
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.

www.hayestheatre.com.au | www.newmusicalsaustralia.com.au

Review: Melba (Hayes Theatre)

Venue: Hayes Theatre Co (Potts Point NSW), Aug 11 – Sep 9, 2017
Book & Lyrics: Nicholas Christo
Music: Johannes Luebbers
Director: Wayne Harrison
Cast: Annie Aitken, Michael Beckley, Caitlin Berry, Andrew Cutcliffe, Blake Erickson, Genevieve Lemon, Emma Matthews, Adam Rennie, Samuel Skuthorp
Image by Clare Hawley

Theatre review
Nellie Melba was the first Australian musician to have achieved international stardom, a legendary figure whose story provides inspiration not only to artists who dream of making it big, but also for women everywhere who know how it is to be told to tame their ambitions. She became wife and mother early in life, as was de rigueur in late nineteenth century, and in the musical Melba, we see her struggle to acquire the independence necessary for professional success. A fabulous selection of classical arias are inserted into a new work of musical theatre, with book and lyrics by Nicholas Christo, and music by Johannes Luebbers.

The original material is delightful, with scandalous details in Melba’s story providing an unexpected sense of titillation to proceedings. Director Wayne Harrison keeps us invested in the show’s characters and narratives, for a production that captivates at every point. Design elements however, are generally underwhelming, with set and costumes requiring greater imagination and boldness, for a more accurate approximation of our fantasies, of the diva and her circles.

Performers Annie Aitken and Emma Matthews share the eponymous role, each bringing to the stage, their phenomenal talents and abilities. It is a strong concept, to have disparate disciplines, opera and musical theatre, represented in this quite unique format for Melba, but it is not always a seamless blend in its efforts to accommodate two physical manifestations of the same personality. Nonetheless, the magnificent quality of singing in the show is sufficient to remedy most of its shortcomings. Also noteworthy is Andrew Cutcliffe who successfully turns us against the forsaken husband Charlie. His creation of a persuasive villain for the piece, is efficacious, and impressive.

In its efforts to keep the memory of our heroine, dignified and noble, Melba can often feel compromising in how it portrays her humanity. The picture it delivers is unbelievably pristine, and the drama is subsequently more gently rendered than is perhaps desired. We need people to look up to, especially trailblazers who show us that the impossible can be done, but it is important that we understand that flaws and foibles are what we have in common, especially when the magic they possess can seem so unattainable to mere mortals.

www.hayestheatre.com.au