“This is a production of a crazy mix of over-the-top accents, ridiculous behaviour and gorgeous singing”
Kate Gaul
Venue: Hayes Theatre
Darlinghurst, Sydney
Dates: Until June 8th
Gazpacho, anyone? A musical adaptation of Pedro Almodovar’s unique (cult) 1988 film of the same name, Women on the Edge of a Nervous Breakdown with music and lyrics by David Yazbek and a book by Jeffrey Lane. Indie Pinwheel productions present this latest outing directed by the talented Alex Berlage. I won’t repeat the story line – you can find that elsewhere! The musical is a much-derided dud in the rich catalogue of musicals and this is a case of no matter how many splendid and snappy ideas you have for this one it can be a bit of a haul getting through it. It’s kinda baffling working out why you’d choose to do this show. The first act is tedious, but things take off in the second half but … you know, it’s a bit late then!
Alex Berlage has assembled a quite brilliant team. Starting with a striking ensemble, Amy Hack leads the company as a credible and detailed Pepa aided by best friend Candela – an hilarious Grace Driscoll who’s Act One showstopper “Model Behaviour” is a triumph. Tisha Kelemen plays a formidable woman scorned and Nina Carcione is a delight as the victim of a Valium-laced gazpacho. You can’t beat the comic (or musical) chops of the quite brilliant Tomas Kanor in several roles but memorably that of Carlos; Andrew Cutcliffe impresses vocally as the cad, Ivan. Completing the cast is Aaron Robuck as the taxi driver, Melissa Russo as Paulina the feminist legal eagle, and Sean Sinclair as Hector.
This is a production of a crazy mix of over-the-top accents, ridiculous behaviour and gorgeous singing (Musical Director Dylan Pollard). The set design by Hailley Hunt is truly to die for – the red and pink ribbon Tripoline-style curtain is an inspired solution for playing comedy on a small stage like the Hayes and there has been much fun to be had assembling the vintage and stylish décor. Sam Hernandez is a wonder in the wardrobe and the costumes are some of the best I have seen in a production at Hayes Theatre. The shapes, colours, styles reflect both the ‘80s period and an imagined Spanish chic on a budget. Chiara Assetta sets some neat choreography on a chaotic stage. Phoebe Pilcher drenches the entire event with gorgeous and sophisticated lighting.
I mentioned the second act is a standout – this is reflected in the staging, choreography where the camp genesis of this production really lands: the car chase, the fleeting and fast entrances and exits and of course the gazpacho! Ending on a moving song from the women is a surprise after the madness.
So why go? – well, inventive Berlage can’t change the raw material but, looking around the audience on the afternoon I attended, he and his team have found something for girls, grannies, gay men and guys who get it. Go for the performances, the colour and those retro sunny Spanish vibes.
Image: Daniel Boud
Kate Gaul, Theatre Now
