Book and
Lyrics by Nicholas Christo - Music by Johannes Luebbers
Directed by
Wayne Harrison - Musical Direction by Michael Tyack
Designed by
Mark Thompson - Lighting Design by Trudy Dalgleish
Sound Design
by Caitlin Porter
Hayes Theatre
11th August to 9th September, 2017
Performance
2nd September reviewed by Bill Stephens
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| Emma Matthews and Annie Aitkin as Nellie Melba |
For
generations of Australians the name, Melba, is synonymous with opera, endless
farewells and a delicious sweet. Much has been written about her. She wrote an autobiography,
and there have been several biographies published. Anne Blainey’s 2009 biography “Marvellous
Melba” provided the source for this fascinating new musical by Nicholas Christo
and Johannes Luebbers, which after eight years in development, is currently
enjoying its premiere season at The Hayes. It’s been worth the wait.
“Melba”
concentrates largely on Melba’s early career, her marriage to Charles Armstrong,
her affair with Duke Phillipe D’Orleans, and her struggles for custody of the son,
George, she bore to Armstrong, told against the backdrop of her burgeoning
international operatic career.
 |
| Emma Matthews (Nellie Melba) - Annie Aitkin (Nellie Melba) - Genevieve Lemon (Madame Marchesi) |
Johannes
Luebbers’ has devised an interesting score which neatly interweaves operatic arias associated with Melba’s career among his
engaging contemporary music theatre songs to add an additional layer of
comment. This together with Nicholas Christo’s intriguing device of having two Melbas
at different ages, occupying the stage at the same time, while occasionally slightly puzzlingly, lifts this
show out of the realm of your usual musical.
Mark
Thompson has conceived an appropriately elegant setting consisting of a
circular raised platform, in front of a semi-circular white backdrop on which
are pinned hundreds of red roses. Wayne
Harrison uses roses as a continuing motif throughout the show, fashioning an
inspired finale in which Melba, surrounded by floral bouquets is showered with
rose petals. Elsewhere his direction is concise and confident, allowing Thompson’s
minimalist set and costume designs, and the skills of his actors, to evoke a
sense of period and propel the storyline.
He makes inventive use of the tiny space commencing the
show with a variation of the Hayes Theatre production trademark, by having the cast enter, one by one, to the sounds of
Melba, offstage singing “Home Sweet Home”.
They seat themselves around the raised circular platform and from there,
observe the action, participate when required, and occasionally interact with
each other, as Melba’s story unfolds.
Melba’s passion
for singing, her wilful insistence on marrying Charles Armstrong against her
father’s wishes, how she persuades Madame Marchesi to train her voice, and the
repercussions of the breakdown of her marriage, are depicted in a series of
short fluid scenes into which the audience is quickly drawn.
In her first
leading role, Annie Aitken gives a captivating performance as the younger
Melba. Possessing a clear, strong soprano voice perfect for portraying the
promise of future greatness, her depictions of Melba’s response to the barriers
which are placed in the way of her achieving success, are winningly realised,
and when she sings to Madame Marchesi, “I Am Here To Be The Best”, she leaves
no doubt that she will be. She also
bears a remarkable likeness to Emma Matthews, who plays the mature Melba, making
it easy for the audience to accept that they are watching the same person on
stage.
The
masterstroke of this production was persuading Matthews to take on this role. Her
portrayal of Melba as the graceful diva sits perfectly with the mood of the
production, and the gravitas she brings to her arias, sprinkled throughout the
show, is simply thrilling. Her teary
“Vissi d’arte”, towards the finale, provides one of those theatrical moments
that few who experience it, in the tiny Hayes Theatre, are likely to forget.
 |
| Samuel Skuthorp (George Armstrong) - Andrew Cutcliffe (Charles Armstrong) - Annie Atking (Nellie Melba) |
Among a
strong supporting cast, Andrew Cutcliffe impresses with his ability to elicit
sympathy for Melba’s husband, Charles Armstrong, despite the sense of menace he
brings to the role. Caitlin Berry shines in the dual roles of Blanche Marchesi
and the delightfully gossipy Gladys De Grey, while Adam Rennie convinces as the
handsome, slightly mysterious Phillipe D’Orleans. Samuel Skuthorp is endearing
as Melba’s son, George Armstrong, cleverly infusing his puppet alter ego with
personality. Genevieve Lemon gives a delightfully idiosyncratic portrayal of
Melba’s teacher and mentor, Madame Marchesi, as well as doubling as a rather
sinister nun. Michael Beckley and Blake Erickson, both in dual roles, round out
a very strong cast.
As the
latest entrant in the growing catalogue of Australian musicals, “Melba” throws
a humanising light of one of Australia’s most celebrated icons. It is also a
well-crafted and entertaining show which deserves to be seen by much wider
audience than will get the opportunity to see this fine production during its
season at the Hayes. If it comes your way, don’t miss it.
This review also appears in Australian Arts Review. www.artsreview.com.au
