Riding on the back of raving US reviews and branded as the legitimate follow up to the overwhelming world success of ‘Menopause the Musical’ I was looking forward to the Sydney opening of ‘Motherhood The Musical’. The show is clearly targeted to a female audience. The original producers, GFour Productions dedicate the show, ‘To our mums, their moms and to our children and grandchildren’. However, as a father of four I was certain to have the ability to connect to my own inner female side and cheer along.
Nashville singer/songwriter Sue Fabisch, crafts her show around a baby shower for first mother to be, young Amy (Rebecca Moore). Her friends Barb (Amelia Christo), Brooke (Ziggy Clements) and Trisha (Jacqueline Hoy) have lovingly arranged this surprise party and prepared themselves to give their young friend first hand advice from all angles of motherhood.
It started promisingly. A sweet, starry eyed and highly pregnant Amy opens the show with “I’m having a Baby”. Her glorified expectations are countered by her three, very mature and well baked friends, with ‘Welcome to Motherhood.’ Their sarcasm and reckless honesty is refreshing. We soon learn about the hang ups of the three ‘professional mother’ friends.
Barb is a struggling, stay at home mother, Brooke cannot cope with her demanding schedule as a successful lawyer and Trisha is a hardworking, sadly divorced minivan driver. Once the background is established the plot/dramaturgy of the show becomes irrelevant. We are catapulted into a rollercoaster of songs highlighting each and every cliché ever told about motherhood. ‘Costco Queen’ is designed to be a show stopper, however, sadly becomes a reminder that Sydney now is contributing to the development of ‘storegasms’ for overwhelmed Mums.
‘Mommy, Mommy, Mommy’ is cute but not heard for the first time. Ballads like ‘I’m Danny’s Mom’, ‘Now I know’ or ’When the Kids are grown’ could make one anticipate if the lyrics were just a tad more honest, more reflective and the music more memorable. ‘The Kids are finally asleep’ is cleary aimed to heat up the temperature but cannot succeed. It is just yet another, obviously inevitable Hallelujah Gospel.
There are three songs that grab your attention. The awkward ‘I Leak’ is a reminder of how uncomfortable and at times humiliating bladder incontinence must be for women who gave birth. But the intention is ruined by the conclusion that men do not leak? ‘Baby Weight Blues’ is a song of the kind which truly puts the finger in an open wound. ‘Do it’ could shine a light on post natal sexuality if not driven into a farce and aiming for laughter when the issue has nothing funny about it.
By no means do the songs claim to be epoch making musical signature tunes. They work for the concept of the show and nothing more. In the midst of this conglomeration of musical styles, from R&B, pop to country and gospel there are glimpses of previous showstoppers, not penned by Sue Fabisch, reminding us how irresistible and uplifting standards like ‘The Way We Were’ and ‘Don’t Rain on My Parade’ can be. This is where the music starts.
The four mothers on stage work hard, are professional and dedicated. They are loveable even in their woodcut characterisation. However, at times it looks like they were not allowed to show their true colours. You sit up straight when Ziggy Clements is allowed to show off her legit abilities. You sit back when listening to Rebecca Moore testing her grand voice. You smile at Amelia Christo’s approach to get sassy and raunchy. She is good at that and very believable. You adore Jacqueline Hoy when she truly goes the Full Monty. They work well together. And there harmonies were a joy.
Terence O’Connell’s direction is straight forward and effective. Heavy handed at times, however, he gives the cast enough room for witty reactions and comic relief. Sue-Ellen Shook’s choreography is simple and effective when working with props. But Fred Astaire’s artistry in making props an art-form only shines in the distance.
Musical Director Vicky Jacobs ensured that every song was pitch perfect and created quite amazing ensemble vocals. The harmonies were one of the musical highlights of the show. However, her biggest task must have been to get the cast familiarised with the overproduced backing tape. We are aware that nowadays life musicians on stage are not affordable anymore. When it comes to backing tapes everyone should be aware of the fact that they only work if tailored to the life voices on stage. In addition, they must be mixed to actually carry the life voices rather than demolishing them.
The lighting Designer, Jason Bovaird, must have been out of town. In each and every song the lights seemed to have their own life. On, off, in, out with no reason, no cause. May be the word ‘show’ had the better of him or he just does not know yet that less light is more? It just looked awkward. The costumes by Adrienne Chisholm were appropriate with a touch of ‘boring’.
The reaction of the audience at the opening night in Sydney was friendly, if not lukewarm. The laughter was more a murmur than an outburst. Applause for the songs was audible but no indication of enthusiasm. ‘Motherhood The Musical’ had its Australian Premiere on 11 February in Melbourne and since then the cast is on a nationwide tour. With only one swing at hand it might have taken its toll.
90 minutes straight and 18 ½ songs later one leaves the Everest Theatre at the Seymour Centre mysteriously puzzled and contemplating, what has happened to musical theatre? Gone are the times when new shows arrived that changed the expectations of worldwide audiences; when innovation and artistic courage enabled Kiss of the Spiderwoman, Sweeney Todd, La Cage Aux Follies or even Nine. GFour Productions won thirty Tony Awards, fifty-three Drama Desk Awards for some of the shows mentioned above. I think it is time to be innovative again and not just stare on pecuniary success. This show serves its purpose to entertain its audience at no matter what cost. As long they laugh, applaud and flock in and enjoy themselves. The mums and their moms may enjoy it. Their children and grandchildren deserve more.
Terence O’Connell’s production of ‘Motherhood The Musical’ opened at the Everest Theatre at the Seymour Centre on Tuesday July 26th, 2011 and runs until Saturday 13th August, 2011.
Markus Weber
27th July, 2011
Main production credits:-
Director Terence O’Connell, Musical Director Vicky Jacobs, Choreographer Sue-Ellen Shook, Designer Shaun Gurton, Lighting Designer Jason Bovaird, Costume Designer Adrienne Chisholm.
Musical numbers: “Welcome to Motherhood/I’m Having a Baby,” “Mommy, Mommy, Mommy,” “Nothing But the Best (For My Baby),” “Minivan,” “I’m Danny’s Mom,” “Costco Queen,” “I Leak,” “Every Other Weekend,” “How Great They Were,” “Do It,” “Baby Weight Blues,” “Not Gonna Take It Anymore,” “Grannyland,” “Bun in the Oven Medley,” “Now I Know,” “The Kids Are Finally Asleep, “When the Kids Are Grown.”