Songs for the Fallen

Look down on the stage – is it a Musical, is it a Cabaret, is it a Burlesque? Well, it’s Superwoman in the form of Sheridan Harbridge, so arguably it’s all three. But why limit your enjoyment by putting a label on it at all? It’s a delicious feast of bawdy irreverence, political incorrectness, Vaudeville, filthy language, pop songs, audience interaction and deep and poignant moments wrapped up in a Birthday Party. It’s as funny as a Trevor Ashley show but with more depth (sorry Trev).

The super talented Harbridge wrote the show, which is a combination of carefully scripted storytelling, wild comedy, and in-your-face asides. It tells the story of Marie DuPlessis – the French Courtesan who, sold as a sex object at 15 by her father (there’s good parenting for you), became the mistress of the rich and famous, and the inspiration for La Dame aux Camellias, La Traviata, Camille and Moulin Rouge. She died just 18 days after her 23^rd birthday of consumption, but on her birthday she partied…much like any other night. The by-line for the show is “Tonight we’re going to party like it’s 1847.” Intermittently Marie breaks character to tell us the moral of the story….which changes every time she makes a new discovery about life (my favourite was “Never masturbate to Radiohead”).

Harbridge has a voice to die for, capable of  burlesque roaring and full operatic soprano-ing ( I made that word up but Marie would love it). Though the songs  - music by Basil Haglios – are not earth shattering, they are often edgy, strongly pop driven (with a touch of Ga-Ga) and – as one would expect – perfectly geared to the star’s persona. But it’s the sublime comic timing and endearing connection with the audience that sets Harbridge apart from her peers. She has the audience in the palm of her hand and she’s such a strong performer that she could crush them at any time….instead she opens her fingers and lets them escape to breathe for a moment before grabbing them again. That’s true artistry. She’s a performing Goddess and they worship her…and rightly so.

Simon Corfield and Ashley Hawkes are quite simply wonderful as all the men in her life (one of them reminding me disturbingly of Geoffrey Edelsten) and Harbridge has generously given them some of the best lines. Shane Anthony as Director (also co-producer with Critical Stages) does a terrific job of controlling the mayhem (though one suspects nobody gives much direction to Ms Harbridge). In the rare moments where discipline can’t keep up with the cast and the whole thing threatens to fall in a heap, he pulls it back from the brink. The Baroque set (Michael Hankin) with its proscenium arches and enormous bed is excellent and Lisa Mimmochi’s slightly world-worn costumes are perfect. Both are complemented by Alexander Berlage’s lighting. My own personal quibble is that I think the Arts Centre is not the best venue for the show…I would have preferred it in a venue like Chapel off Chapel, but it doesn’t have the capacity. Nevertheless, it wouldn’t matter if Ms Harbridge and Co were performing on Flinders St Station – the show is a Tour de Farce for performers and audience alike.

Coral Drouyn

Photographer: Louis Dillon-Savage