Here Lies Love
23rd November 2018
Q Theatre, Auckland, New Zealand.
Review by Sarah Kidd. Photography by Andrew Malmo.
Last night Auckland audiences had the pleasure of attending the debut of Here Lies Love, a live stage show interpretation of the 2010 concept album written by none other than David Byrne and Fatboy Slim. While the album was later developed for the stage – a rock opera if you will – in 2013, The Milford Asset Management Season of Here Lies Love centres more on the five female performers themselves, and as such sees a selection of tracks from the album performed cabaret style. Under the direction of both Sophie Roberts and musical director Robin Kelly, Here Lies Love is vibrantly brought to life.
As the musicians – featuring none other than guitarist Marika Hodgson and Paddy Free of Salmonella Dub – in matching green sequinned jackets begin proceedings opening track ‘Here Lies Love’ is the audiences first chance to meet their five female performers; the divine Ria Hall leading the way. Coming into her own during the second half she is the undeniable stand out of the entire performance, her renditions of both the funk infused ‘Dancing Together’ and heartbreaking ‘Order 1081’ which saw her bathed in light reminiscent of the setting sun, exceptional.
Moving through the tracks, duets, trios and superb solos ensued. While the vocals were initially a little overwhelming to begin with, a balance was quickly found which melded both musicians and vocalists in a harmonious marriage. Without question Jennifer Ward-Lealand in her sassy silver pant suit was always going to turn in an incomparable performance, her years of experience shining through, especially during ‘When She Passed By’. An absolute thrill to watch on stage, Lealand moves between grace and vivaciousness with the greatest of ease. Commanding the stage with just a single toss of her braids, South Auckland R&B/neo-soul singer songwriter Villette positively smouldered when singing ‘Eleven Days’; dressed in a stunning one-piece sequined sweater dress and thigh high boots, her vocals were continuously on point during the evening.
Completing the quintet both Sarah Nessia in a floor length black sequinned gown and Collen Davis in gold each brought their own elements to the songs; Nessia’s version of the disco influenced ‘Ladies in Blue’ magnificent. Unfortunately, Davis was at times a little overpowering; this was particularly evident during her early duet with Villette on ‘Every Drop of Rain’. Her delivery of the final song on the album ‘Why Don’t You Love Me?’ requiring a touch more restraint to stop it from tumbling into a comical whine.
A simple stage design that saw walls emblazoned with colourful orchids framing a central mirrored stair case was throughout the evening taken to another level of wonderment through the ingenious use of led lights within the orchid patterns and several mirror balls; both set designer Daniel Williams and lighting designer Rachel Marlow making effective use of the space while bringing vitality to the songs themselves.
Overall Here Lies Love is a slick and fast-paced production that celebrates both a wonderfully diverse and predominantly female cast while paying homage to a cleverly constructed album.
Were you there at the Q Theatre for this brilliant adaption? Tell us about it in the comments below!
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I have no objection to a show about the life of Imelda Marcos, but this left me cold. Perhaps it was the music, which to me was very samey:you needed some ballad / subdued numbers. And without dramatisation /acting it made no emotional impact on me. Just a group of admittedly talented women in glitzy dresses belting out numbers.
Why are kiwi artists singing and dancing to these songs? What are they celebrating? Why are they asking the audience to celebrate/ dance with them? What is their connection to the Philippines? Are they romanticising Imelda Marcos’ actions? I cannot help but read this as an appropriation of Filipino history for the sake of ‘pre Christmas’ entertainment – at the cost of human suffering. Hiding behind the ‘concept album’ is a disservice to the story behind the songs. If the full musical couldn’t be realised with a Filipino cast – why do it at all? Why not develop a new work that says something about New Zealand history/ culture/ politics?
I’d be really intrigued to hear your thoughts on the context of this production within NZ society. What point/ communication was it making? Why, do you think, this company produced this work? What did you think of the arrangements, and how appropriate to the production were they? Most reviews tend to do this, this happened, with these people, a sprinkle of reflection and a nod to the designers. Flat.