Left - Kylie Farmer and Christine Anu. Photo - Mark RogersIt's been about 5 years since The Sapphires debuted at Belvoir upstairs. It's taken that long to get to Wollongong. The producers must've gone the long way 'round. But it was worth every minute of the wait.
Based on the true story of writer Tony Briggs' mother and aunties, it traces the intense experiences of Laurel Robinson, Naomi Mayers, Beverly Briggs and Lois Peeler; four strong, archetypally stoic indigenous women, from a musical family. They grew up in country New South, but Laurel, Naomi & Bev moved to the big smoke (Melbourne) to work as telephonists. But not for long. They more-or-less stumbled into open mic auditions at the Tiki Village, a Fitzroy Street nightclub near their St Kilda home. Their scintillating harmonies won hearts and, as The Sapphires, they made six pounds (it was the early 60s) each, singing Motown three nights a week.
By 1968, they had an invitation to be part of a three-month tour of entertainment duty in The Philippines, Thailand & Vietnam. Naomi was engaged and Beverly understandably fearful, so Laurel took the bit, teaming up with sis, Lois. Jungle-fevered troops came out in droves, tanks and trucks to see them and they had one or two close calls, being fired upon.
It was the stuff of legend and with a poetic licence and a few liberties, the exceptionally versatile and unreasonably accomplished Briggs created what's almost certainly assured of becoming a musical theatrical legend in itself. Of course, he's had nothing but the best by his side: not least, director, Wesley Enoch; very ably assisted by Kyle Morrison.
Peter Farnan might be best known from his Boom Crash Opera days, but as composer, producer, sound designer and teacher he's had whole other lives. As musical director, he couldn't have had better backup than he has, in assistant MD, Simon Burke; not to mention precocious sound designer, Tom Brickhill. Apart from a muddy vocal mix for the intro, all the audio elements worked pretty well impeccably. And the band were more than just pit musos (they were on a platform, for starters): Ben Collins was a blast on sax (and 'pedal tambourine'); Andrew Weir played guitar with arty attack and Dan di Paola's drums recalled the heady Motown days with authenticity. Burke's no slouch on keys, neither.
I remember Tony Bartuccio as choreographer for The Don Lane Show, but he's gone from strength-to-strength since then, while diversifying into other media. It's clear he has an eloquent repertoire of '60s go-go moves, and he sports a clutch of the vocabulary here. It's cohesive, contemporary and contextual.
Tim Chappel is the Academy-awardwinning costume designer for both Priscillas: the movie and the musical. So the glitz and glamour he brings to The Sapphires is no surprise; yet his work is always surprising and exciting.
Aljin Abella graduated from NIDA only four years ago, but this diminutive dynamo is as shiny and brilliant as Chappel's cozzies, as Vietnamese boy, Joe. Joe is looking to get back to see his family. He's been away earning money for them, as his father has long since passed away. At 14, he's the breadwinner. And a streetsmart one, too. There is constant tension in his presence: we sense that, in his heart of hearts, he fears his family won't be there, when he gets back. Tragically, his worst fears, the fears he dares not to allow to seep to full consciousness, are realised. In his very containment, Abella plays out his unfolding personal drama incomparably well. There's a lovely scene in which the sisters are trying to communicate with him, on first meeting, speaking fractured Vietnamese and shouting, in English. He patiently waits for them to exhaust their repertoire, before addressing them in near-perfect English. It's not a new gag, but timed impeccably.
Ken Ransom, whose resume is as long as your arm, plays Robby, the charming US Marine who falls for Kay, the most demure of the Sapphires. It's a solid, charismatic performance, as is Jimi Bani's, as Jimmy, long lost, roguish fiancee of Cynthia's, with all the moves. Speaking of which, he's also a sensational dancer, with a number of opportunities to strut his stuff, including a double-up as MC. While on the blokes, Oliver Wenn is easy to love, as Dave, The Sapphires' disorganised, ineffectual, but bighearted manager who, along with Joe, serves as a reminder to the horrors of the era, when he's unceremoniously despatched by a mine.
Then there are the girls. Kylie Farmer, who bears a striking resemblance to Deni Hines, brings her multifarious performing arts experience to bear in a gentle, sympathetic rendition of Kay, the quiet, thoughtful member of the troupe. Her solo moments reveal a very beautiful voice, too. Her twiggy, birdlike stature is ideally-matched to the more reserved, less upfront character she portrays. It's a lovely reading, that engenders profound sympathy.
The vivacious Hollie Andrew is Julie, the youngest Sapphire, struggling for acceptance and recognition. She carries a secret, too: her pregnancy; throughout she is grappling with the prospect of motherhood, counselled by sister Kay, who's been there. Andrew, too, has a highly-attractive and well-trained voice, with ample opportunity to let it loose. She demands attention on stage, not least thanks to those dark, sparkling eyes.
Casey Donovan dominates, as Cynthia, a big, brash, brassy girl, full of spunk and bursting with personality. Almost needless to say, she is made for the role, or vice-versa. To say this girl can sing is redundant, but, oh boy, can she! Here's a voice that can out-diva anybody. If a song's got heart, soul & sass, she's the girl to sing it. Blues? Gospel? Big, tear-jerking ballad? She can handle it. Move over, Aretha.
Put Casey's next to Christine Anu's voice and you've got enough baseload power to replace brown coal. Not so very many people, perhaps, are aware of Ms Anu's diversity of talent (she worked with Bangarra, for example, for quite a few years), spanning theatre, film, television, and more; probably because she shines so brightly as a singer, it tends to make you forget. Her vocal quality is sublime. As older sister, Gail, she takes on her prickly, demanding, responsible, mother-hen character with panache: one could almost believe she's, in truth, a 'difficult' woman. And loving it, I suspect.
The other stars of this show (apart from its credible, well-crafted, heartrending script, peppered with just the right amount of in-your-face political commentary), one of those that, I'm sure, will endure as a fond memory and affectionate favourite bordering on guilty pleasure, are the songs. Love Is Like A Heatwave. He's So Fine. Respect. My Boyfriend's Back. Stop In The Name Of Love. I Never Loved A Man The Way I Loved You. Think. Sweet Soul Music. And the composers. Holland-Dozier-Holland; Norman Whitfield; Aretha; Otis. Names that are indelibly stamped on popular music, for good reason.
The Sapphires tickles, treats, teases, torments, tears-up and tears it up. In just the right measure. And all the right places. It's thrilling. Even chilling, in the sense of those tingles you get when you hear a song, and a voice, that knocks & rocks your socks for blocks. It truly is a gem.
Company B Belvoir presents
The Sapphires
by Tony Briggs
Director Wesley Enoch
Venue: IMB Theatre | 32 Burelli Street, Wollongong
Dates: 18 May – 22 May, 2010
Times: Tues 18 & Wed 19 May 8pm, Thurs 20 May 11am & 8pm, Fri 21 May 8pm, Sat 22 May 2pm & 8pm
Tickets: Adult: $59; Adult Early Week Special: $54; Conc/Group 10+: $52; Conc/Group 10+ Early Week Special: $47; Student Rush: $25
Duration: Approx 2 hrs 26 mins (incl interval)
Bookings: http://merrigong.com.au
