Elegies: a song cycle is a show for a very specific theatre goer. It is for the ones who don’t need showiness, rather, those who appreciate the simplicity of engrossing vocalisation and lyricism.
According to litcharts:
“An elegy is a poem of serious reflection, especially one mourning the loss of someone who died. Elegies are defined by their subject matter, and don’t have to follow any specific form in terms of meter, rhyme, or structure.”
So, as the title suggests, there isn’t a traditional narrative, but a series of songs linked together thematically. The piece was written by composer and lyricist, William Finn about the deaths of friends and family and is a response to the September 11, 2001, terrorist attacks. While this sounds morbid, it somehow isn’t. Instead, the production celebrates life’s infinite joys.
The show features an all-star cast of five – Nadine Garner (one of Australia’s most respected actors whose career has spanned across film, television and theatre for more than 35 years), Kerrie Anne Greenland (Les Miserables, Miss Saigon), Marty Alix (Bring It On, Rent), Anton Berezin (Phantom of the Opera, Wicked), and Glenn Hill (Matilda, Jersey Boys) in various roles.
All are given ample time to flex their dramatic and comedic talents. If I was to pick a standout it would be Greenland singing Anytime (I Am There) whose emotions left her literally trembling by the end of the song. In contrast, I also thoroughly enjoyed the hilarious Dear Reader.
If I was to make a minor note it would be, though Berezin is heavily featured at the beginning, he fades around 3/4 into the piece before having the last laugh sing, as it were.
Performed in an underground warehouse, the space itself already feels “lived in” which is to Elegies’ benefit. Despite the minimal staging of a few chairs, tables, props and drapes, set and costume designer Mikailah Looker has also helped create an expansive space.
While lighting by Tom Vulcan helps highlight dramatic moments combined with Martyn Coutts’ clever use of rear screen projections. This is most effective during the graveyard scene and closing number. Additionally, Freya List’s use of movement is subtle but often times erratic. It’s this unpredictably that keeps the audience engaged.
It takes a confident director to take on such a complex piece of work – moving from a touching song about the loss of his mother Barbara Finn to a hilarious romp about his pet dogs. It’s a fine piece of theatre from celebrated director (as well as award-winning singer, actor, producer and teacher) Tyran Parke’s newly formed Clovelly Fox Productions. Parke’s recent directing credits include Barnum starring Todd McKenny and Rachael Beck, CHESS starring Natalie Bassingthwaighte and Rob Mills, and Tick Tick Boom! starring Hugh Sheridan.
At the beginning of Elegies, Parke introduces the show and the inspiration behind it. A warm and charismatic person, you immediately understand his passion for the project. He also explains this in the show’s programme, and also the idea of death and dying attributed to traditional Mexican culture, where a person is described as dying three times. The third being when the last person alive utters their name and the deceased person then becomes lost to time.
As Parke quotes:
“[William Finn] is actively holding on to people and keeping them alive through this music. Each person’s essence is embodied in a song, and the pursuit of this, is central to our production.”
This message is powerful and speaks to anyone at any stage of life.
Its impact will vary though, as different people connect with different stories. For example, the guy beside me was sobbing during 14 Dwight Ave., Natick, Massachusetts and into When the Earth Stopped Turning. It’s also easy to see why Parke himself connected with Elegies due to the childhood loss of his own mother, as he states in the programme.
In closing, Parkes has created an intelligent, heartfelt, funny and reflective piece of theatre. It’s a heavy subject matter for theatre but it’s perfectly balanced with humour sprinkled throughout its 18-song soundtrack. Never has the use of the word ‘cunt’ gotten such a laugh. I left the theatre reflecting on my own life and with an urge to hug my mother.
The lack of formal narrative may not work for everybody, but put simply, Elegies: a song cycle is a brilliant debut for Clovelly Fox Productions.
Elegies: a song cycle is playing at fortyfivedownstairs (45 Flinders Lane, Melbourne) until Sunday, July 21. It runs for 85 minutes without interval and includes minimal swearing, theatrical haze and names of real people who have died, including victims of the September 11 terrorist attacks.
4/5 STARS
For tickets go to fortyfivedownstairs.com/event/elegies-a-song-cycle/
More information can be found at clovellyfox.com
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All images by Ben Fon (used with permission)
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As it states on its website, fortyfivedownstairs is a not-for-profit theatre and gallery showcasing independent visual art, theatre and music.
TINSEL and TAP SHOES 