Bold and brash, Songs for the Fallen bursts or rather, busts onto the baroque era stage as scandalously as a Paris Hilton newsflash. As soon as the red light shines on the decadent, satin-sheeted, round bed occupying centre stage, the scene is set for debauchery. The audience is treated to a number of frivolous moments, maybe even as many as 10 in a 75 minute orgy of musical triumphs, hilarious French-accented dialogue and underlying moments of poignancy in a story that was first immortalised by Alexandre Dumas in his novel Le Dame aux Camelias.
The tale begins on 15 Janvier 1847, when Maree Duplessis announces that in 18 days, she will die. A roar of laughter erupts from the audience, an attitude that typifies the flippancy with which society treated Paris’ most celebrated courtesan. Ostensibly adored by those who could afford her, despised by genteel womenfolk, and in the end, taken seriously by none, Maree’s tragic life was one of constant denial, rampant materialism, and a desperate search for belonging. After the initial insight into her depraved life, the tale rewinds several years to the time when Maree was a 15 year old beggar scraping together a living on the Pont Neuf.
Lured by the temptation of a hot chip from the enigmatic Arginald, Maree soon learns to exhibit traits of refinement that could lead many to assume she was one of society’s fair ladies. Instead, after the departure of her benefactor, Maree must fend for herself in the only way a woman of her time could.
Played to perfection by the superbly talented writer of the show, Sheridan Harbridge, Maree sings, dances, screams and fornicates her way to becoming the most sought after-prostitute in Paris. But her attempts to dispel her worries with wild, boozy parties belie the underlying tragedy of a woman scarred by poverty and plagued with tuberculosis. Despite her imminent death, Maree continues to endure tedious advances from despicable geriatrics and forsakes love for money as she catapults towards the inevitable train wreck of her demise.
Acted out in a self-referential, post-modernist style, Harbridge teams up with two multiple personality sidekicks who take on a plethora of characters, ranging from Clotilde the houseboy to Maree herself as a young girl, who reappears as an apparition throughout the show. Dispersed throughout the drama and capturing a mood that oscillates on the brink between heartfelt pity and hedonism is the soundtrack composed by Basil Hogios. Together with the saucy choreography accompanying the song and dance routines, Hogios’ punk-opera keyboard compositions transform the show into an entertainment spectacular worthy of being performed in the Moulin Rouge.
Songs for the Fallen is a hilarious romp. The singing is exquisite, the performances are divine, the props and costumes are thoroughly reminiscent of the era, and the story is told with just the right amount of non-seriousness in order to avoid melodrama. Revealing the spoiler from the outset underscores the deep irony that lurks behind all of Maree’s tribulations – that despite everything she would die an early death. Accepting this realisation makes it all the more easier to throw caution to the wind, embrace the bling, kick up those heels and party like it’s 1847.
Songs for the Fallen dares you to dispense of any inhibitions you might have and join Sheridan Harbridge and the boys for a damned good time.
Rating: 4 stars out of 5
Songs for the Fallen
Written and performed by Sheridan Harbridge
With Ben Gerrard, Basil Hogios and Garth Holcombe
The Reginald Theatre, Seymour Centre, Chippendale
5 – 16 March
