Kate’s Score: 4 Aspirational Stars
There is something deeply satisfying about viewing a show done really well; a sort appreciation of the creative synergy that all productions crave and audiences cannot help but appreciate. The opening night of The Life of Us left us with this feeling due, in large part, to the brilliantly clear creative vision of Neil Gooding, the director.
Owing much to modern musicals such as Dear Evan Hansen and Hamilton, The Life of Us tracks the trials and tribulations of Charlie (Ben Bennett) and Ellie (Ashleigh Taylor) as they struggle to maintain a long distance relationship over the year where Charlie tries to make it in London as a singer/songwriter with his manager and mate Mike (Christian Charisiou); whilst Ellie is in Sydney, attempting to work from home and care for her dementia ridden mother (a stunning Pippa Grandison).
It is a familiar and old story. However, unlike relationships of old where lovers had to wait weeks for airmail letters, or use a large portion of rent for an imperfect single phone call, Charlie and Ellie can easily and cheaply skype and text and call. But it seems even technology cannot solve the problems inherent in a long-distance relationship; if anything, it seems to speed the inevitable.
Bennet, Taylor, Charisou and Grandison nail it. The designers nail it. A common feature of stunning design is collaboration and David Bergman’s sound, Lauren Peters’ set and costumes, Veronique Benett’s lighting work seamlessly together to create the two spaces of Sydney and London and even a memorable rock concert. The movement (Kyla Bartholomeusz) segues beautifully and the actors own the reality of their spaces so convincingly that even when in the same “room” we understand perfectly they are half a world and oceans apart.
And the ocean metaphor leads to one of the best musical numbers of the show. “Water” is a haunting ballad between mother and daughter likely to leave a tear trickling. It is one of the standout numbers of the show and along with “The Plan”, is most likely to lift out of the musical. “Wine Time”, referencing Hip Hop, provides the cheeky comic relief all musicals need. However, there is a problem with a secondary and unnecessary metaphor of the lion. It sits oddly within the overall storyline and makes a strange bedfellow to the other imagery. Water is strong. Powerful. Flexible. Deep. Who would ever want to cross an angry ocean? Why cannot Ellie be water? And by not fully utilising this metaphor, Bennett and Taylor (who are also the writers) missed the opportunity to give the character of the mother a memory song rather than the odd “Grace’s song” which even Grandison’s heartbreaking rendition cannot fully reconcile to the storyline of the show.
There is also a small disconnect with the character of Mike’s decision to come back to Australia. The bro code is strong but for a young man, who managed to inveigle his way into important meetings and make the necessary connections for success (and in the now, careers can take off so quickly with one accidental meeting) to throw it all away in support his mate’s decision by going home with him, seems to sit outside is character arc. And in any storyline, as in any life, a price must be paid for all choices made. Something must be lost. The musical has established that it cannot be done in any other time than now, it is a digital musical, if you will. Mike would choose to stay.
It is a common trope of young writers/performers to execute a brilliant piece that perfectly displays their amazing talents, but often through the prism of a generic, predictable plot. Bennett and Taylor are certainly forces to be reckoned with. They have written a musical which reflects contemporary life where all that happens within is normal. They act and perform it with consummate professionalism and have the sense to get director Gooding on board and go to someone Nicholas Griffin for musical direction and arrangement.
But we know this story, so we need to know why this particular one.
An engaging examination of how lives of the now are global and ever-shifting, The Life of Us is a wonderful achievement which, with a little more tweaking, will be memorable.
Kate Stratford, Theatre Now
Photography Credit: Grant Leslie
16 Jan – 9 Feb 2020
Venue: Hayes Theatre
Theatre Company: 100 Coffees Productions & Neil Gooding Productions
Duration: N/A
Full $59
Concession $52
Group $52
Tues – Sat 7:30 pm
Sat 2:00 pm
Sun 3:00 pm
Book and Lyrics by Ashleigh Taylor & Ben Bennett, Music by Ben Bennett
The Life Of Us follows the long distance romance of Charlie and Ellie. Forced apart by circumstance, they maintain their relationship through technology, but how much connection can a person truly feel through a screen? As we watch their lives unfold and their relationships crumble, we begin to understand what we want isn’t always what we need.
The Life Of Us is a modern-day musical that looks at how we love and what it means to be connected.
Mentored by the legendary Stephen Schwartz (Wicked, Pippin, Godspell) The Life Of Us is Australia’s new, groundbreaking musical, with an extraordinary ability to express universal feelings of love and heartbreak into a deeply affecting and intimate musical.
With a knockout, emotionally powerful score that will hook you from the first note, this original production features the incredible talents of Ashleigh Taylor (American Idiot The Musical) and Ben Bennett (Muriels Wedding The Musical) Toby Francis (Charlie Price – Kinky Boots) and Pippa Grandison (Elphaba – Wicked). The Life of Us is raw, heart-wrenching, honest and appeals to anyone who is, has been, or hopes to be, in love. Don’t miss it.
Director Neil Gooding
Musical Director Nicholas Griffin
Designer Lauren Peters
Starring Ben Bennett, Ashleigh Taylor, Toby Francis & Pippa Grandison
