Review by Lisa Lanzi
Love Stories is the most unapologetically joyful theatre work I have had the pleasure of witnessing in a long time. Alongside that, every component of the production is indisputably excellent: performances, writing, direction, design, and, well, simply the entire package.
I’ve commented in other reviews that, although few and far between, mainstage productions can be of the highest quality yet still energising and entertaining - this is one of them. In lesser hands, the theme coupled with the musical-style production could be a little too much, a little forced, or overly sentimental. It isn’t. The work is genuine, honest, and refreshing. Queensland Performing Arts Centre chief executive John Kotzas recalled how easy it was to support the Love Stories stage adaptation because “Trent’s power is not only in his words – which are inherently so theatrical – but in his ability to scrutinise the complexity of what it is to be human, with a heavy dose of heart and optimism that we can all connect with”.
The book started in 2021 with the author perched on a Brisbane street corner with a sky-blue Studio 44 Olivetti typewriter bequeathed to him by his friend Kath Kelly. Accompanied by a sign saying "Sentimental Writer Collecting Love Stories" Dalton questioned people from all walks of life: "Can you tell me a love story?". Then last year, the same dream team that brought Dalton’s Boy Swallows The Universe from page to stage birthed this gem. Tim McGarry expertly adapted the book for stage, with additional writing and story by Trent Dalton and fellow journalist Fiona Franzmann, who is also Dalton’s wife. Articulate direction by Sam Strong exhibits conviction, obvious compassion, and a robust vision. Strong says that ‘Dalton’s body of work has a knack of making the specific universal” and I suspect Strong’s directorial knack and dramaturgical talents have honoured and enhanced the original material.
As the audience snaked down the steps in The Playhouse to strains of The Thompson Twins, we were being filmed in high definition with the entire auditorium reproduced on the cyclorama, as if we were gazing into a mirror. While we arranged ourselves, quotes in large, white ‘courier new’ style font appeared, overlaid on the image of the crowd; quotes like “Love is like an ocean. It can be calm and still, or rough and wild, but in the end, it's always beautiful” or “In the end, love is all that matters”. Each quote was underscored by the name of the person who had uttered the words (folk approached in the foyer prior to the session), the extracts real, unadorned and eliciting many sighs and nods from the crowd. All the tales emerge from the true stories featured in Dalton’s book which became the play that premiered in 2024.
It was Fiona Franzmann who suggested that Love Stories could work on stage and the relationship between ‘Husband’ and ‘Wife’ that becomes the foundation of the play’s narrative reflects her and Dalton’s own love story. Jason Klarwein as ‘Husband’ is sweet, riveting, soulful, and completely relatable as the character rides a roller coaster of emotion. Michala Banas as ‘Wife’ is perfection, her character’s trajectory an earthy counterpoint to some of the more sweetly rendered stories. Adelaide-trained Rashidi Edward as drum player Jean-Benoit is larger than life and serves as witty narrator and truth-teller with wonderful energy and spell, as well as his own tale to reveal.
The entire cast were spectacularly good, taking on multiple roles each and forming a cohesive, captivating ensemble. Patrick Jhanur, Angie Milliken, Kirk Page, Bryan Probets, Jacob Watton, and Hsin-Ju Ely. Their palpable collective connection welcomed and encouraged viewers to partake of the narrative with warmth and delight. I could easily add paragraphs about the talent on stage such was their presence and virtuosity with every characterisation hitting the mark. Watton and Ely also danced Dr Nerida Matthaei’s (of Phluxus2 Dance Collective) mix of classical and contemporary choreography with exemplary technique, flair, and expression, the sequences exquisitely amplifying the essence of the textual themes.
The set remained very spare with actors shifting some elements on and off stage which permitted Ben Hughes’ lighting, the projection, and of course the performances to shine. Filmed in real time by onstage camera operator Tnee Dyer, sections and moments of the production were cast onto screen alongside other vision like city streets, clouds, and sometimes backstage. The vision mixing and video design by Craig Wilkinson was astonishing and occasionally dizzying as viewpoints altered quickly from front to above to behind, through to extreme close-ups; all this adding layers of outlook and scrutiny to the whole - much like our human stories having multiple interpretations. Stephen Francis’ composition & sound design complemented the scenes with an eclectic mix of influences and a whole lot of happy tunes.
An abiding sentiment throughout Love Stories was the comforting empathy for and deep recognition of real humans and their stories Some of those humans made an appearance on screen during the bows. As Angie Milliken’s beautifully wrought character says “Love is a fistful of time you can’t get back…” - this show evoked a range of emotions and memories of love for me, and I’m sure the entire audience, judging by the rousing applause and ovation. Dalton’s compilation of love stories may have been gathered in 2021 when Covid was shattering Australians’ health, emotions, and spirits however, I suggest we need these gems of hope and courage just as much today in our fragile, politically fraught world.
