Songs for Nobodies
Directed by Simon Phillips, this one woman play was written by Australian playwright Joanna Murray-Smith specifically to showcase the extraordinary talent of Bernadette Robinson. It is very funny in parts, with a biting wit (one character describes another as having “the imagination of a paperclip”) but also very poignant and moving.
The premise is the presentation of five wonderful monologues by ‘nobodies’; insignificant women all from different walks of life and nationalities who tell us the stories of their brushes with fame.
There’s the ladies’ cloakroom attendant who fixes Judy Garland’s hem; and an unrecognized singer working as an usher at the theatre when Patsy Cline catapults her onto the stage to perform backing vocals – on the day of Cline’s untimely death. A junior journalist, annoyed at having to write banal, trivial articles, struggles to make her interview with Billie Holliday work. A frightfully prim and proper British librarian tells us about her annual trip to pay homage to Edith Piaf, who saved her then-teenaged father, imprisoned for joining the French resistance. Finally there’s the nanny who dreams of marrying into luxury but realizes that it hasn’t brought Maria Callas much happiness.
Robinson wears a classic ‘little black dress’ with a tailored jacket throughout. The jacket is sometimes draped, removed, shrugged on or held on to, to distinguish between scenes and characters. Each character has their own favourite drink (whiskey, scotch ,tea) and distinctive physicality. A blackout helps separate each monologue as well. But it is Robinson herself whose phenomenal acting and vocal range truly differentiates each character.
She ranges from lilting Irish to sharp American twang, crisp British accent and Parisian French, among others. She segues seamlessly with amazing control, changing tone and accent to bring to life each ‘nobody’ and the beautiful voices of the singers they idolize, from the husky, smoky blues of Billie Holliday (‘Strange Fruit’, ‘Ain’t Nobodies Business If I Do’) to the dark velvet of Callas’s soprano (an aria from ‘Tosca’). Robinson’s Piaf gives you goosebumps (‘Non, je ne regrette rien’) and her Judy Garland (‘Come Rain Come Shine’) and somewhat brighter, lighter sounding Patsy Cline (‘Crazy’) are jaw dropping .
Andrew Bailey’s somewhat art nouveau/art deco set is designed in drab grey. There is a tiny kitchenette on one side, stairs with platforms on the other. A screen (sometimes with images of snow) discreetly hides the fabulous band lead by Ian MacDonald. Special mention must be made of the very cool hot jazz saxophone in the Billie Holliday segment.
Poignant, enthralling and bittersweet, this is mesmerizing, magical theatre. The tumultuous standing ovation at the end was more than richly deserved. See it.
Rating: Four and a half stars
Songs For Nobodies
By Joanna Murray-Smith
Starring Bernadette Robinson
Director: Simon Phillips
Assistant Director: Gary Abrahams
Musical Director: Ian McDonald
Set and Costume Design: Andrew Bailey
Lighting: Kerry Saxby
Sound Design: Tony Love
Presented by Duet Entertainment
A Melbourne Theatre Company Production
Running time: 90 mins (no interval)
Sydney Opera House
August 4 – 19
The premise is the presentation of five wonderful monologues by ‘nobodies’; insignificant women all from different walks of life and nationalities who tell us the stories of their brushes with fame.
There’s the ladies’ cloakroom attendant who fixes Judy Garland’s hem; and an unrecognized singer working as an usher at the theatre when Patsy Cline catapults her onto the stage to perform backing vocals – on the day of Cline’s untimely death. A junior journalist, annoyed at having to write banal, trivial articles, struggles to make her interview with Billie Holliday work. A frightfully prim and proper British librarian tells us about her annual trip to pay homage to Edith Piaf, who saved her then-teenaged father, imprisoned for joining the French resistance. Finally there’s the nanny who dreams of marrying into luxury but realizes that it hasn’t brought Maria Callas much happiness.
Robinson wears a classic ‘little black dress’ with a tailored jacket throughout. The jacket is sometimes draped, removed, shrugged on or held on to, to distinguish between scenes and characters. Each character has their own favourite drink (whiskey, scotch ,tea) and distinctive physicality. A blackout helps separate each monologue as well. But it is Robinson herself whose phenomenal acting and vocal range truly differentiates each character.
She ranges from lilting Irish to sharp American twang, crisp British accent and Parisian French, among others. She segues seamlessly with amazing control, changing tone and accent to bring to life each ‘nobody’ and the beautiful voices of the singers they idolize, from the husky, smoky blues of Billie Holliday (‘Strange Fruit’, ‘Ain’t Nobodies Business If I Do’) to the dark velvet of Callas’s soprano (an aria from ‘Tosca’). Robinson’s Piaf gives you goosebumps (‘Non, je ne regrette rien’) and her Judy Garland (‘Come Rain Come Shine’) and somewhat brighter, lighter sounding Patsy Cline (‘Crazy’) are jaw dropping .
Andrew Bailey’s somewhat art nouveau/art deco set is designed in drab grey. There is a tiny kitchenette on one side, stairs with platforms on the other. A screen (sometimes with images of snow) discreetly hides the fabulous band lead by Ian MacDonald. Special mention must be made of the very cool hot jazz saxophone in the Billie Holliday segment.
Poignant, enthralling and bittersweet, this is mesmerizing, magical theatre. The tumultuous standing ovation at the end was more than richly deserved. See it.
Rating: Four and a half stars
Songs For Nobodies
By Joanna Murray-Smith
Starring Bernadette Robinson
Director: Simon Phillips
Assistant Director: Gary Abrahams
Musical Director: Ian McDonald
Set and Costume Design: Andrew Bailey
Lighting: Kerry Saxby
Sound Design: Tony Love
Presented by Duet Entertainment
A Melbourne Theatre Company Production
Running time: 90 mins (no interval)
Sydney Opera House
August 4 – 19
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