Songs for Nobodies

 

In a musical play that pays tribute to five of the last century’s most renowned divas, one would expect those women to be driving force of the piece, however Joanna Murray-Smith’s inspired Songs for Nobodies takes the lives of five other women who are touched by the stars and elevates them to the same lofty status.

 

Starring the extraordinary Bernadette Robinson, this one-woman show starts humbly as we meet a sweet, yet melancholic 1940’s bathroom attendant who tells of the day her life was brightened by an encounter with Judy Garland. In all of the mini stories that make up this piece, Robinson takes on the persona of the ‘nobody’ telling their ‘brush with fame’ tale, but when each woman talks of their respective diva she also embodies the voice and characteristics of the singer.

 

Known for her astonishing skill in mimicking singing voices, it’s Robinson’s ability to also create unique and detailed characterisations of every role she portrays that truly amazes. Flipping from the bathroom attendant’s classic New York accent to Garland’s posture and famous way of talking through a crooked smile, Robinson displays consummate ease through each transition. Likewise the shift from Patsy Cline’s gutsy twang to the lovable backing singer she meets on the fateful night of her last performance are beautifully drawn.

 

While Robinson lures the viewer into each tale with her flawless performance, it’s the beauty of Murray-Smith’s writing that leaves you hanging on her every word. The stories are all well researched into the histories of the five famous singers, and some are more biographical tales than others are, but none is as moving as the story of the quiet British librarian who owes her very existence to the efforts of Edith Piaf during World War II.

 

While the change of pace brought about by the introduction of the charmingly self-deprecating librarian is wonderful, it’s Robinson’s embodiment of Piaf that is downright astounding. With all the pronunciation of a native Parisienne, ‘Non, je ne regrette rien’ mesmerised the opening night audience.

 

Simon Phillips’ direction is subtle, yet deft in the way it ensures the piece has movement and variation, while playing to all sides of the audience. Opportunities for Robinson to whet her whistle are intelligently weaved into the plot, such as when news reporter ‘Too Junior’ Jones packs away the librarian’s tea cup and saucer before pouring herself a decidedly more stiff drink on the rocks.

 

‘Too Junior’ interviews Billie Holliday in an effort to progress her career and if all is right with the world this production will do the same for Bernadette Robinson. Her recreation of the jazz icon’s unique vocal timbre is truly spectacular.

 

The most stunning portrayal of the night however is left until the last moment of the show as an Irish nanny working aboard one of Aristotle Onassis’ yachts recollects her meeting with Maria Callas. Accompanied beautifully by a four-piece band, Robinson’s performance of Puccini’s ‘Vissi d’arte’ in the persona of Callas is worthy of the full-house standing ovation it earned on opening night.

 

Everything is working together in this brilliant production, writing, direction, design and performance are all superlative and it’s a brilliant way for MTC to end a highly successful 2010 season. Do whatever you can to get a hold of a ticket to this little gem of a show.