“This is a script (and performance) which ultimately celebrates love and friendship and asks the moral question – how far would any of us go for fame, even fifteen minutes of it?”
“We need productions like this to encourage all to keep fighting the good fight.”
Kate Stratford
4 one-hit-wonders
Riverside
Katy Warner’s Girl Band begins as a charming, humorous and nostalgic romp through a phenomenon of the 1990’s and then evolves into something darker as it explores the oppressive, bullying and exploitive nature of the music industry.
The abuse of female and male popstars in the industry is an issue that is not unknown but is also not spoken about very often. In the wake of the #MeToo movement over recent years, countless women and men in the entertainment industry have come forward about the abuse they have experienced at the hands of producers, directors and many more. The stories expose a culture that seeks to intimidate young entertainers by threatening harm to their career if they stand up to their abuser. Men like Pearlman, Diaz, Gottwald and Berru. In the industry it was an open secret that each band had a “sacrificial lamb”. A band member who would be the one sexually abused by managers or producers.
Perhaps then, the most heart-breaking moment is Chaya Ocampo’s Jade asking the others “Why am I the one?” Meaning the one who is consistently sexually attacked by the group’s manager Darren. Darren, along with Craig, never makes an appearance but both are a
consistent off-stage threat; and both are an ever-present reminder of the price the girls pay for fame. MJ (L J Wilson) refused to be the sacrificial one, and was punished with being forever in the far corner of the group, never allowed centre stage. Her bitterness underpins
all her actions and reactions.
Complicit in the oppression is Amy Hack as the talented but “too old” Becky, who, fearful of her own tenuous grasp on the industry is left bereft at the end, having chosen management over duty of care. As with each member of the on-stage ensemble, Hack delivers a completely rounded character performance as well as fabulous choreography.
Of course, with Lucy Clements at the helm directing, one would expect no less. Clements always elicits the best performance from her casts and manages to establish atmospheres which completely engage an audience. She is unarguably one of the best directors on the Australian scene with an unerring ability to zero-in on the core of any script and develop a vision of the best way to lead her team in achieving a memorable show.
Girl Band is a thoughtfully structured piece of writing. Having established the scene, the character of Kiki “it’s Kathleen!” (Madeleine Marie Dona) is introduced as the replacement for Didi – the group’s centrepiece who has gone solo. As an outsider, she sees immediately the exploitation of the group and challenges every one of them to question their acceptance of the status-quo. Stacey (Jade Fuda) and Sammy (Meg Clarke) struggle with keeping their relationship hidden; and the denial of self leads to problems for both. Sammy unsuccessfully hides her anorexia despite being the “strong” one of the group. Stacey dithers with the pressure of playing straight for the publicity.
The ensuing journey sees each member of the girl group coming to terms with the choices they have made and will have to make and as it should, sisterhood wins. But at a cost. Because of course, in the end the girls pay for their stand. After all, everyone is replaceable.
There is girl group dancing, some pop hits with questionable lyrics, there is humour and sadness and whilst we might like to think that those days are gone, that the exploitation is over, it is – too obviously – not. We need productions like this to encourage all to keep fighting the good fight.
A sidebar here – kudos to the crew who do a telling back-up appearance at the end. And to a complete female production. All the Bechdel Rules passed!
This is a script (and performance) which ultimately celebrates love and friendship and asks the moral question – how far would any of us go for fame, even fifteen minutes of it?
Kate Stratford, Theatre Now
