That Bloody Woman - review
REVIEW Liam Stretch
In what felt like a Jesus Christ Superstar colonial New Zealand parallel universe, suffrage was the gospel, and Kate Sheppard and her impassioned union of women dominated the stage in an inspired reimagining of That Bloody Woman.
Showbiz has faced a myriad of challenges over the last few years, and once again, Covid's nasty tail stung just at the last minute, with several cast members being struck down by the dreaded lurgy just days before opening. This delayed the raising of the curtains.
But by the time the first note was sung to a sell-out crowd at the Christ's College Auditorium, it's safe to say that everyone was ready for a party.
With feminism at its core, let's have a chat about the powerhouse trio of wāhine at the helm of the production. Director Melanie Luckman (Once, A Streetcar Named Desire) took the reins of the iteration and really ran with it. The show was brimming with energy, and the large cast was able to make the most of the rather restrictive stage. Kimberly Wood (musical director) understood the assignment of the rock musical genre, with high-energy, complex numbers that truly showcased the vocal talent within the cast. And Hilary Moulder created simple yet fun choreography that matched the rock aesthetic.
The Christ's College Auditorium is a more intimate setting than usual for Showbiz headliners, and it definitely felt that way. Seated near the back, I wasn't left out of the show one bit. In fact, due to an exposed "orchestral pit" housing Hallelujah Bonnets, I probably got the better end of the acoustics, which were on the loud side but nonetheless a lot of fun.
The design team, consisting of Rosie Gilmore (set design), Grant Robertson (lighting design – not the former deputy prime minister), and Katrina Poharama (lighting design), created a set and lighting plan that was interesting enough to enhance the show without detracting from the story.
Bryony Jamison is the consummate professional. Taking on the complex role of the suffragist leader herself, she captured a fiery spirit and articulated the still very pertinent message written by Luke Di Somma and Gregory Cooper. She had moments of sass and power balanced by heart-wrenching monologues. Jamison is an actress of incredible depth and versatility.
The devil on the audience's shoulder is Richard "Dick" Seddon (Tom Hart), New Zealand's longest-serving PM and the relative who gets too drunk at Christmas parties. This grotesque character becomes strangely endearing, and the relationship between him and the protagonist bends and shifts, with him becoming a device in Kate's narration.
Kate's troupe of suffragettes showcased some unexpected talent. Jacqueline Doherty's performance as Christian Temperance Union leader Mary Greenleaf Clement Leavitt will stay with me for quite some time. Her vocal range is something to behold, leaving me covered in goosebumps. There's also a lot to be said for the on-stage emotion of Libby Fraser, playing Ada Wells. Ada was one of Sheppard's original union members and encapsulated a key motivation of the movement hauntingly in the song Quarter Acre Dream, which slowly unravels to reveal a dark truth. One simply cannot overlook Sarah Kelly and her performance as the Vicar. It's like Dawn French meets Aretha Franklin meets Stephen Toast. Hilarious, but damn, can she sing.
Chris Goodyear and Cameron Melville portray Kate's husband, Walter, and her secret love, William, respectively. Their falsettos are impressive!
My only gripe is that it deserved to be in a bigger, grander theatre. Although the crew made the space work, this was one of the most talented casts I've seen in a while, worthy of gracing the best stages in the city.
However, I can say that I had a blast on Friday night. The energy of That Bloody Woman still lingers with me the morning after, and I'm sure some of the songs will stick in my head for weeks to come. To any latent misogynists out there, take yourself along; it'll do you a world of good.