The program for BEYOND DESIRE at the Hayes Theatre is styled as an Edwardian newspaper and what I have to report about the show is both good and bad. Firstly the bad news: I really did not take to this show … for me it was ‘Beyond Dire’. The good news: it’s highly possible that I am wrong. And why is this good news? Because I love the Hayes Theatre. They give new musicals a go, they encourage talent, and they never short-change their loyal audiences. They have longevity and resilience and I have seen some great stuff there this year. Plus … the wonderful Nancye Hayes is on the boards again.
BEYOND DESIRE is the name of booklet of poems written by the dead patriarch of the Pemberton family (Phillip Lowe), father to Anthony (Blake Bowden) and husband to Louise (Chloe Dallimore). Reporting of his demise is the headline story of the broadsheet program. “Man found Dead in London Hotel.” His sudden popping off is ruled a suicide but Anthony and his Oxford roommate, James (Ross Hannaford) believe that there is dirty work afoot.
Louise has married in haste to George (Tony Gogin) who was the largest beneficiary of dead Edward’s will. Add Syd (David Bulters), a disgruntled manservant and Emily (Christy Sullivan) the maid pining for Anthony and you have a fairly dysfunctional family.
Dovedale Manor is under the watchful eye of Mrs Wilson (Nancye Hayes) housekeeper and cook , who is the keeper of secrets. There are secrets about infidelity, bad business dealings, gay stirrings, moral dissolution…
The first thing the audience notices on entry is the topless young man sunbaking or dead on the stage apron. He is in front of a period green and gold curtain which opens to reveal a very small stage area and some very clunky furniture… as befits a 1910 estate. The six piece band takes up the rear of the space and they are well enough lit that the audience is aware of their responses so they need to be wary of looking bored or dismissive. Their presence also means that there is not much room for the actors to move on stage. Crisscrossing characters from spotlight to spotlight is the extent of the choreography for the large cast songs.
From the opening of the curtain onto the first tableaux, the eye is taken immediately by the sumptuous costumes hired from Opera Australia. There is a very operatic feel to the music in the show, the voice work is usually in the higher registers and my ears had problems with the mixing. In one of the latter songs in the garden, When nobody knows Emily begins in a throaty mezzo which is the best voice we hear. When James’ tenor voice joins her and the soprano blends in, the performers work is not supported by the mix. Too trebly for me. The cast are also handicapped by the lighting design which uses an intelligent fixture as a followspot to very poor effect. It is a completely different colour and temperature so it looks weird and it constrains the cast to stay still.
In general terms, I enjoyed the work of the performers. Nancye Hayes and Phillip Lowe particularly. They are all ‘present’ on stage and have focus and they interact well and there is considerable rehearsal evident to even an untrained eye. But they don’t have a lot to work with. There is little in the text to provide growth or enough motivation for the dastardly deeds. Just being cheated on or being homosexual or wishing above your station is not enough. I’m not sure why it is set in Edwardian times. Admittedly the King’s poor behaviour was mentioned and societal mores were useful in the plotting but class themes or behaviours do not come through strongly in the action.
The music score by Keiran Drury is replete with foreshadowing and bar repetitions. It’s samey and nothing soars or reaches over the footlights to tap the toes. The song lyrics by director Neil Rutherford are essentially interior monologues which reflect character but do little to advance the narrative.
I saw this show with a group of friends and several of us weren’t keen on it. One of us even absconded at interval. My friends are actually a bit cross with me because the point is that it’s a melodrama you have to buy into the story. I didn’t which was a shame because I really wanted to like it. It’s a new Australian work, and it has been mounted with sincerity and drive.
BEYOND DESIRE- book and lyrics by Neil Rutherford, music by Kieran Drury- continues at the Hayes Theatre, Potts Point until 14 December.