Review by Alison Stoddart
Post partum depression is not a common subject for a musical. Especially when the challenges of early child raising are suffered by a young uni student and an itinerant musician, set in urban pubs and clubs of Newcastle.
But “No Love Songs,” now performing at Sydney’s Foundry Theatre is such a show. And it succeeds as dramatic theatre as well as an engaging musical. A very modern perspective on romance and its repercussions, this is not a sequence of unrequited love torch songs or swelling choruses of melancholic affection. In fact, the single depiction of overt love is a well staged opening scene. The two leads meet, flirt, connect and conjugate at a gig in a local pub. The set is pared back to bare bones, strewn with road cases lit by a performance lighting rig, with a single musician upstage behind keyboards and effects pedals. The performance of the two leads effortlessly transforms the audience into playing the role of the mosh pit at a pub gig. An effective opening sequence that belies what’s to come.
Playwright musician Kyle Falconer is part of the successful “raucous” Scottish indie rock band The View and has made headlines for the usual rockstar wrong reasons. In 2021 he released his second solo album No Love Songs for Laura. His partner Laura Wilde, a published author who has co-written a musical (with Johnny McKnight, author of multiple theatre, opera and television productions) inspired by her experiences as a new mother with a rock star partner. Informed by real-life experiences, Wilde and McKnight expose the difficulties of balancing familial responsibility with rock god aspirations.
The story follows Jessie, a musician looking for the big break, and Lana, a more grounded uni student, as they all too quickly find themselves dropped into the labyrinth of exhaustion, uncertainty and relationship stress of an unplanned baby.
The authentic storyline is told, as it usually is, from the perspective of the male character. Vignettes of Jessie are comprised of reluctantly leaving his new wife and newborn to chase success in the US, phone calls and Facetime home, difficult conversations extending time away, then finally back home and out having drinks with his mates. All backed by performances of engaging songs reflecting his physical and emotional journey.
Conversely, Lana’s journey delves deep into the struggle of physically maintaining her child, her house and her life amidst the isolation of new motherhood. Reflections of mothers group members who are ‘not yummy’ quickly segue into sombre scenes of struggling with the simple act of opening the front door to get out of the house.
Lucy Maunders is outstanding as she grows Lana from drunk pub gig girl flirt through to disoriented child bearer and into the dark of a deeply depressed new mother, and finally out into the light of an assured human. After her great performances in “Chicago” and “Mary Poppins,” Maunders delivers a Lana who is aware of her own vulnerability, whether drinking beer through a straw at a gig or trying to find courage to venture out with her baby. Maunder’s acting brings clarity to the emotional effort of a new mother grappling with isolation and self-doubt. Likewise, Maunders vocal performances is similarly emotive, strong and clear. You can see her control the power she has in reserve as her character holds back ever so slightly from any big musical ‘showstopper’.
Keegan Joyce is well known for roles in “Rake” and “Please Like Me,” and here he delivers a likeable strong performance as Jessie. He encapsulates the tension between his desire to be a good man, to be “present” as a dad and to be an effective and supportive partner. All whilst chasing the fame and financial reward of a music career. Joyce’s musical talents are very present and well used. He easily moves between dramatic actor and live musical performer, successfully merging the two to deepen his character and give insight into his conflicts.
The third ‘character’ onstage is musical director Mark Chamberlain who delivers an outstanding performance. Not just musically with piano, bass, drums and all manner of instruments that delivers an immersive sound. From full tilt rock band to quiet piano underscore accompaniment. But with the simple donning of reflective glasses he becomes for fleeting moments the manager, partner, and Jessie’s travelling ne’er-do-well road buddy.
The Foundry Theatre is a perfect venue for the production. Don’t dawdle in the foyer of the main Lyric Theatre. Find the neon Foundry sign and head down the corridor, yes – past the loos, and discover a whole other intimate bar much more in keeping with what No Loves Songs will offer.
No Love Songs is recommended for an evening of great music delivered with deep performances of a story that whilst may not be expected, is a common story very well told.
