“The energy of the full ensemble numbers has the audience clapping and whooping”
This new musical – book and lyrics by April de Angelis, music and lyrics by Lucy Rivers – brings to life William Hogarth’s shocking 1751 etching ‘Gin Lane’ portraying grotesque caricatures of people suffering from the Gin Craze that was rife in the early part of the eighteenth century. As the curtain rises, we meet a number of these ladies under the influence who sing, dance, and extol the virtues of their favourite tipple. A pawn broker’s sign hangs close to the stage, the same sign as in Hogarth’s print.
The set (designed by Hayley Grindle) is built on two levels and reinforces a view of the class divide with the wealthy Fielding family and a semi-sozzled Queen Caroline appearing on the upper level whilst the gin ladies are firmly rooted on the ground and at the bottom of society. Through the shadows of wooden beams and hanging ropes, we can see various musical instruments: harpsichord, violin, cello, double bass, guitar, timpani. Each member of the eight strong ensemble takes their turn at becoming the band. Plus the ever-present MD Tamara Saringer at the keys.
For much of the time we could describe this as a folk musical. The singing is gentle and refined, the lyrics ballad-like in form, and the duets between the two main leads contain excellent close folk harmonies. The arrangement of the songs is most striking particularly those making use of violin and cello underlay.
The energy of the full ensemble numbers has the audience clapping and whooping. “Gin Dive” is the standout song that reappears close to the end in a poignant unaccompanied close harmony version. “It’s the Law” becomes a good old cockney knees-up with comedy trombone. Many of the scenes can be described as bawdy – and are especially enjoyed because of that – at times they are out-and-out plain rude.
The plot – or the message of the show, perhaps – is summed up with the song title, “What does a woman have to do to get a better life?”. We follow the journey of Mary (Aruhan Galieva) who whilst working as a servant is knocked up by the visiting priest, kicked out into the street, tricked into giving away her baby, and narrowly avoids rape and prostitution by setting up as a gin hawker. We learn that life for a woman is not a bed of roses. But then, Mary befriends Lydia (Paksie Vernon), her saving grace.
Director Michael Oakley produces the most spirited scenes when the gin women appear on stage together. If their individual characters do appear on the caricature side of sincere then we can allow that they may have been first based upon a cartoon. But, in the midst of tragedy, despite the best efforts of this hard-working cast, there is little tension to be felt and we remain unmoved. Particularly, much of the momentum is lost after the interval as attention turns away from the rumbustious Gin Lane into the genteel home of the foppish Henry Fielding (Alex Mugnaioni) and his do-gooder sister Sarah (Rachel Winters).
April de Angelis and Lucy Rivers have created a most fascinating feminist – and musical – response to an interesting period of English history which reflects well on Hogarth’s masterpiece that initially inspired the idea.
“such a talented actor giving an exceptional performance”
This highly recommended production gives two compelling reasons for a theatre visit. Firstly it provides the rare opportunity to see and hear the terrifically talented Australian Bernadette Robinson in this country and secondly to do so at one of the few surviving grand music halls in the world.
This was my first visit to Wilton’s Music Hall though it certainly won’t be my last. Tucked behind a row of terrace properties in Whitechapel, a short walk away from Tower Hill, this building has undergone a sympathetic restoration process over recent years. Entering the venue there is a sense of awe, a feeling of visiting the past which enhances the anticipation of watching the performance.
Once inside the musical hall there was an angled apron stage on which Robinson performed. This area included several items of furniture that she used to extend the visual aspects of the stories she portrayed. Behind her was a three piece band that was positioned on the raised stage, framed by a magnificent proscenium arch. The stage and her clothing were exclusively black.
Songs for Nobodies was written by Joanna Murray-Smith to specifically showcase Robinson’s exceptional vocal talents and her ability to recreate the sounds of legendary female singers. In this one woman show there are five separate monologues which involve singers from entirely different musical worlds. In each she plays both the megastar and the ‘nobody’ whose life is changed in some way by their interaction with one of those great singers.
We first get to meet Bea, a washroom attendant who meets Judy Garland on the night of her famous Carnegie Hall concert in 1961. Her performance of Come Rain or Come Shine sent a shiver down my spine. Next is Pearl, an usherette in Kansas City, who meets Country and Western star Patsy Cline in her dressing room on the night that thirty year old Patsy was killed in a plane crash. She sings two songs including Crazy and the portrayal of her emotionally expressive and bold contralto voice is perfect. The third monologue is both funny and sad. It tells the story of an English librarian whose father was helped by Edith Piaf to escape from a prisoner of war camp. Piaf’s voice is perfectly recreated and of the two songs performed Non, Je ne Regrette Rien is a showstopper.
Billie Holiday has an immediately recognisable voice. Inspired by jazz instrumentalists it was one that pioneered a new way of improvisation, phrasing and tempo. Again Robinson is able to master this in the story of budding journalist Too Junior Jones. Here the ‘nobody’ is a woman of privilege who meets the wonderful singer and acknowledges the obstacles she faced. In this segment there are three songs including Strange Fruit. The final monologue demonstrates perfectly the voice range that Robinson has. We are treated to a stunning version of Puccini’s Vissi D’Arte where years of her studying classical singing are obvious. It is a great story of an Irish nanny for Ari Onassis and his relationship with perhaps the greatest diva of all – Maria Callas.
The audience reaction to the show was an immediate and thoroughly deserved standing ovation. Bernadette Robinson is clearly the star of the show but the overall enjoyment is enhanced by the support she receives when on stage. The three piece backing band is set in the background and never attempts to upstage the singer. There is some remarkable lighting from Malcolm Rippeth who manages to both spotlight and flood the stage superbly. Designer Justin Nardella brings a black understated style to the stage and Justin Teasdale with Tony Gayle produce a perfect sound design in what could be a difficult acoustic hall. Simon Philips directs the show expertly ensuring the audience is never in doubt as to who the star of the show is.
I left the theatre feeling privileged to have witnessed such a talented actor giving an exceptional performance in a wonderful theatre environment. It was a real highlight of my 2018 theatrical year so far. I loved it!
