Image (c) Belinda Strodder.
‘Hear my voice’ is a recurring motif heard in the pop musical Bare sung by teenagers at a Catholic boarding school at the start of the 21st century. These young characters are struggling with a myriad of issues, from drug abuse to teen pregnancy, and are desperately searching for guidance within the somewhat indifferent religious education environment they find themselves in. When they don’t receive the understanding and acceptance they long for the consequences are devastating. This show is a passionate and powerful rallying cry for truth and freedom and this production by StageArt is an exhilarating smack-you-in-the-face smash hit success.
Peter (Adam Di Martino) is in love with St. Cecilia’s most popular student and his dorm-mate Jason (Finn Alexander). They have been romantically involved for a while and Peter wants to come out to his mother and finally make their relationship public, but Jason is hesitant to reveal his sexuality fearing that it will jeopardise his future. Further complicating matters is the fact that resident queen bee Ivy (Hannah McInerney) has her sights set on Jason, whilst shy Matt (Jake Fehily) has a secret crush on Ivy and Jason’s sister Nadia (Hannah Grondin) is sick of being relegated to the background because of her weight. When Matt witnesses the boys in a passionate embrace secrets are revealed and tragedy occurs. Complicated? Dramatic? Yeah well that’s high school for you.
Director and set designer Dean Drieberg has created a slick and beautiful production. Bare is thrilling, passionate, clear, clean, precise and visually bold. And praise Jesus, someone has finally used the notoriously difficult performance space at Chapel Off Chapel perfectly. A stained-glass window dominates the back of the stage, stark fluorescent lights neatly frame the floor and a large floating illuminated crucifix looms overhead. Sets and props are kept to a minimum and there are no wings, creating a large playing area which allows the performers to move freely and gives the whole piece room to flow. It feels like this production was always meant to be performed in this space.
Drieberg has a clear vision for this show and it was superbly executed on opening night. There are many wonderfully ingenious moments of staging; the playful use of chairs in the ‘Wonderland’ sequence, the explosion of colour and movement during the rave scene, the simple yet powerful imagery in Ivy’s solo ‘All Grown Up’ and the quick assemblage of the confessionals are just a few that spring to mind. The final tableau, which I won’t spoil here, is courageous and effective. Even though the story is set in the year 2000, Drieberg knows that the themes explored are timeless and he brings them crashing into the contemporary political world.
This production of Bare is blessed with a phenomenal cast of young talent. The three leads suit their roles perfectly and all have incredible voices. Di Martino brings a sweetness and integrity to his portrayal of Peter. It’s a gorgeous and refreshingly understated performance that makes the audience fall in love with this emotional young man. On paper the character of Jason could easily come across as an arrogant dick, but Alexander never lets this happen. He has the swagger down pat, but also meticulously reveals the conflicted and complicated layers of the role. It’s a remarkable achievement for a young actor. Similarly, the character of Ivy comes with its own set of complications. She is written as the typical ‘misunderstood’ bad girl, complete with a hidden talent for painting (yawn), but McInerney’s performance is so honest and down-to-earth that a fully realised and relatable person emerges. The entire cast are so ridiculously talented and if this is the future of music theatre performers we are incredibly lucky indeed.
Every tiny detail of this production has been expertly designed. From the costumes to the choice of music during interval we are undeniably transported to the early 2000’s; Jodi Hope dresses the cast in slightly flared jeans and fluoro rave gear etc. and songs by Radiohead and No Doubt blast out through the auditorium speakers. In a stroke of genius, the student production of Romeo and Juliet within the show is even designed like Baz Luhrmann’s classic 1996 film. The small band lead by musical director Caleb Garfinkel pump out the pop score brilliantly and Marcello Lo Ricco’s expert sound design ensures every note and word of the sung-through piece rings out crystal clear.
As a piece of theatre Bare has some flaws. There are some clichés in terms of plot and character (hello Sister Chantelle), some unimaginative lyrics and a lot of the recitative in the score is repetitive and could easily be replaced by a pithy book scene. This production also has some awkward moments of camp. An example of this occurs when Peter’s mother Claire, wonderfully played by Mandi Lodge, realises that her son is attempting to come out to her on the phone and she sings the song ‘Warning.’ The staging and performance are a bit over the top and it clashes with the honest feel of the show.
StageArt have been on the independent music theatre scene for over six years and in that time have produced a staggering twenty-six productions. Bare is hands down their best yet. It’s an incredible achievement and I can’t imagine we’ll ever see a better production. I’ve already booked tickets for a return visit so make sure you don’t miss out. Praise be!
★★★★☆Bare
By Jon Hartmere & Damon Intrabartolo
Directed by Dean Drieberg
Featuring Adam Di Martino, Finn Alexander, Hannah McInerney, Hannah Grondin, Jake Fehily, Tom New, Morgan Heynes, Stephanie Marion Wood, Vanessa Menjivar, Mandi Lodge, Quinn Kelly, Hany Lee, David Cuny, Zenya Carmelotti and Jye Cannon
Chapel Off Chapel, Prahran
20 March – 15 April
