Our Ladies of Perpetual Succour, National Theatre of Scotland and Live Theatre for The Melbourne Festival, Fairfax Studio, Arts Centre Melbourne, Tuesday October 11th 2016
"Our Ladies of Perpetual Succour",was presented by the National Theatre of Scotland and Live Theatre for The Melbourne Festival, at the Fairfax Studio, Arts Centre Melbourne, on Tuesday October 11th 2016
For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. So if you want a re-telling of the story please refer to the links for further information or for further insights. Note, that I may provide different links for repeated main words or phrases. I write for my memories of what I have seen, and is more of a stream of consciousness.
I wrote the following two paragraphs on my Facebook account as soon as I arrived home:
""Our Ladies of Perpetual Succour" at the Melbourne Festival is a very good show. It is very funny at times and poignant. The only issue is the heavy Scottish accents but once you get used to them, the really important part of the show evolves. Great singing and fantastic characters with very different stories to tell. Well done Jonathon Holloway the Artistic Director of the Melbourne Festival for introducing us to both this production and the companies involved, namely the National Theatre of Scotland and Live Theatre.
If swearing, sex, drugs, rock and roll, and memories of your school days offend - then do not go!"
I can only commend the writer of the book "The Sopranos" by Alan Warner for such a beautifully moving journey, which has been adapted by Lee Hall who also adapted the film "Billy Elliott" into a musical.
Lee Hall has provided lots of transitions between scenes and the director Vicky Featherstone has maximised these transitions with clever actions and sound effects to transport us to new locations.
The opening scene teases us with the classical song "Lift Thine Eyes" by Felix Mendelssohn. I did wonder if the one bung note was intentional because the rest of the singing was spot on. I am saying to myself it was intentional as the girls were performing at a choral competition.
The cast play multiple roles throughout. I loved the way the cast would differentiate between their main schoolgirl role and the other characters physically and vocally. I particularly was impressed with the solid performance of the "goody two shoes" Kay played by Karen Fishwick. I will not spoil her journey but found it moving and I could only feel angst for her. Karen Fishwick provided so many different characters to showcase her talent. At one stage I could not look at her as it was too painful. I watched the other girls as they observed and felt her story.
The journey of Orla was played brilliantly by Joanne McGuinness was dressed in long clothes to cover her body conscious image. She exposed so much depth of character in her performance as we peeled beneath the layers. I had tears rolling down my face on two occasions with her truth and honesty. Joanne McGuinness also had tears rolling down her face on two occasions that were not manufactured but came from her inner understanding and empathy for this character. I was ashamed for what so many people have done in similar circumstances - the need to be loved, wanted or included.
Dawn Sievewright played Fionnula with strength, gusto and bravado. Not her too? Not more pain and angst? Again her pain was so honest and truthful. The final scene illuminated Dawn Sievwright like an angel - there was a realisation in her development. The final scene resonated as does the song "I am what I am" from the musical version of "La Cage Aux Folles".
Caroline Deyga plays the obese Chell who has a glorious voice and poignancy to her acting. Caroline Deyga allows us into her life unashamedly as she reveals and questions her past.
Kirsty Maclaren is the opposite to Chell as the slight Manda. The contrast is in stature but not performance. They equally command the stage. When Kirsty Maclaren becomes the budgerigar man she plays him with sincerity and is not creepy. He is just different and she has shown us what it is to respect such difference.
Francis Mayli McCann plays Kylah wears her fish net stockings with pride. At times I felt her character was the most distant and that is okay as it created a balance to the other characters.
The Performing Musical Direction and Keyboard player was Laura Bangay who has provided us with a wonderfully tight musical journey. Her ensemble of players in the band also include the percussionist Becky Brass and guitarist Emily Linden. All three in the band were integral to the scenes as they became observers and involved in some scenes as barmen etc.
Choreography by Imogen Knight was not stagy but provided the right amount of "girl/band" without over-powering the scenes.
The singing was beautiful and I loved the quick changes of style to trick us into submission.
Designed by Chloe Lamford the set and costumes transport us to many locations. The school uniforms hide their casual/party clothes. Each character's costume provides many clues to each of their personalities The set is a simple rostrum with a few steps and the band at the rear. The colourful lino squares provide a sense of many locations.
The only downside was the Scottish accents took about ten minutes to attune my ear to. I missed some of the early dialogue. Gradually my ears attuned and I picked up more.
I cannot wait to see more work from the National Theatre of Scotland and Live Theatre.
Thank you to Jonathon Holloway and everyone involved introducing us to such an emotionally moving and rewarding experience.
A beautiful piece of theatre that I will remember for a long time.
Overall I gave this performance an 8/10 due to missing out on the dialogue due to the heavy accents.
I can only commend the writer of the book "The Sopranos" by Alan Warner for such a beautifully moving journey, which has been adapted by Lee Hall who also adapted the film "Billy Elliott" into a musical.
Lee Hall has provided lots of transitions between scenes and the director Vicky Featherstone has maximised these transitions with clever actions and sound effects to transport us to new locations.
The opening scene teases us with the classical song "Lift Thine Eyes" by Felix Mendelssohn. I did wonder if the one bung note was intentional because the rest of the singing was spot on. I am saying to myself it was intentional as the girls were performing at a choral competition.
The cast play multiple roles throughout. I loved the way the cast would differentiate between their main schoolgirl role and the other characters physically and vocally. I particularly was impressed with the solid performance of the "goody two shoes" Kay played by Karen Fishwick. I will not spoil her journey but found it moving and I could only feel angst for her. Karen Fishwick provided so many different characters to showcase her talent. At one stage I could not look at her as it was too painful. I watched the other girls as they observed and felt her story.
The journey of Orla was played brilliantly by Joanne McGuinness was dressed in long clothes to cover her body conscious image. She exposed so much depth of character in her performance as we peeled beneath the layers. I had tears rolling down my face on two occasions with her truth and honesty. Joanne McGuinness also had tears rolling down her face on two occasions that were not manufactured but came from her inner understanding and empathy for this character. I was ashamed for what so many people have done in similar circumstances - the need to be loved, wanted or included.
Dawn Sievewright played Fionnula with strength, gusto and bravado. Not her too? Not more pain and angst? Again her pain was so honest and truthful. The final scene illuminated Dawn Sievwright like an angel - there was a realisation in her development. The final scene resonated as does the song "I am what I am" from the musical version of "La Cage Aux Folles".
Caroline Deyga plays the obese Chell who has a glorious voice and poignancy to her acting. Caroline Deyga allows us into her life unashamedly as she reveals and questions her past.
Kirsty Maclaren is the opposite to Chell as the slight Manda. The contrast is in stature but not performance. They equally command the stage. When Kirsty Maclaren becomes the budgerigar man she plays him with sincerity and is not creepy. He is just different and she has shown us what it is to respect such difference.
Francis Mayli McCann plays Kylah wears her fish net stockings with pride. At times I felt her character was the most distant and that is okay as it created a balance to the other characters.
The Performing Musical Direction and Keyboard player was Laura Bangay who has provided us with a wonderfully tight musical journey. Her ensemble of players in the band also include the percussionist Becky Brass and guitarist Emily Linden. All three in the band were integral to the scenes as they became observers and involved in some scenes as barmen etc.
Choreography by Imogen Knight was not stagy but provided the right amount of "girl/band" without over-powering the scenes.
The singing was beautiful and I loved the quick changes of style to trick us into submission.
Designed by Chloe Lamford the set and costumes transport us to many locations. The school uniforms hide their casual/party clothes. Each character's costume provides many clues to each of their personalities The set is a simple rostrum with a few steps and the band at the rear. The colourful lino squares provide a sense of many locations.
The only downside was the Scottish accents took about ten minutes to attune my ear to. I missed some of the early dialogue. Gradually my ears attuned and I picked up more.
I cannot wait to see more work from the National Theatre of Scotland and Live Theatre.
Thank you to Jonathon Holloway and everyone involved introducing us to such an emotionally moving and rewarding experience.
A beautiful piece of theatre that I will remember for a long time.
Overall I gave this performance an 8/10 due to missing out on the dialogue due to the heavy accents.
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