Well-Behaved Women - Belvoir St (NSW)

Co-Produced with Michelle Guthrie Presents. Music and Lyrics by Carmel Dean.

Move over SIX, there are more stories to be told throughout herstory in Carmel Dean's revitalised feminist song cycle

Reviewed by Justin Clarke

Belvoir St Theatre, Surry Hills

Until 3rd November, 2024

Tickets: https://belvoir.com.au/productions/well-behaved-women/

“Well-behaved women seldom make history” – Laurel Thatcher Ulrich

Carmel Dean’s smash-hit song cycle, Well-Behaved Women, returns to Gadigal taking up residence on Belvoir’s mainstage to destroy the patriarchy for 70 glorious, feminist-fuelled minutes. Whilst you wait for six members of British royalty to come and compete for the crown, Well-Behaved Women will more than satiate your desire for powerhouse vocals, inspiring lyrics, and an exposure on historic females in her-story.

I adore women in theatre. They are at the forefront of some of the most outstanding pieces of new musicals and theatre in Australia. Take the likes of Fangirls (Yve Blake), The Lovers (Laura Murphy) and Metropolis (Zara Stanton) to name but a few. Carmel Dean herself has taken Broadway by storm with her musical direction and arrangements in Funny Girl (revival), If/Then, Hands on a Hardbody, American Idiot, The 25th Annual Putnam County Spelling Bee, as well as The Notebook. 

Well-Behaved Women, Belvoir St (2024). Images by Brett Boardman.

Well-Behaved Women is an absolute feast of female empowerment with a powerhouse cast that take up the entirety of the space at Belvoir; Stefanie Caccamo (Into the Woods), Zahra Newman (Lady Day at Emerson’s Bar and Grill), Elenoa Rokobaro (Caroline, Or Change), Ursula Yovich (Barabara and the Campdogs).

Starting at the beginning - a wonderful place to start - the original sin of Eve and the apple is told with the signature wry smile from Newman, establishing that women who made history were never “well-behaved”. From here, we explore names you know (Julia Gillard, Grace Tame, Malala Yousafzai, Billie Jean King) and others who are often left out of the stories (Hua-Li, mother of Mulan, Janet Armstrong, wife to Neil Armstrong), each sharing their story through song.

Direction by Blazey Best takes Dean’s song-cycle musical and peppers it with flowing visuals by Susie Henderson on screens that sparkle off the glossy flooring of Grace Deacon’s set. Best ensures that the musical is sharp, punchy and gripping from start to finish, giving you moments to breathe before clutching your attention with an iron fist. 

Caccamo threatens to steal the show every millisecond she is on stage.

In this particular performance the ever-professional musical vocals of Sarah Murr swung in for Ursula Yovich. Murr’s variation in pitch, tone and vocal quality ranged from gladiatorial warrior, to subdued and yearning mother. I myself yearn for Murr to get the leading role she deserves.

Newman’s physicality on stage is smooth as silk. Every movement, wink and smirk is playful, seductive and purposeful. She is as powerful here as she was enlarged on a giant screen for two hours in Dracula, and her vocals shine throughout. 

Demanding every second of your attention, Rokobaro belts like she’s fighting for her life in the best possible way. She brings a gravitas to each woman she inhabits that grips you, reminding you to draw a breath when the final notes subside. It’s best to bring an inhaler just in case.

...[demands] every second of your attention

If there isn’t already a fan club for Stefanie Caccamo a crime has been committed. Caccamo threatens to steal the show every millisecond she is on stage. Surprisingly, singing feels secondary in Caccamo’s performance. It need not be said that Caccamo can sing, varying from country to classical and musical theatre, this casting gives her a perfect chance to display the breadth of her vocal chops. Her embodiment of each woman is extremely well realised with her characterisation imbuing pure and colourful storytelling amongst her rich vocals. The purposeful nuanced movements, looks and physicality through which she shares the stories of each woman is spellbinding. 

Song cycles themselves can sometimes become monotonous without a story to underpin it. Thus the applause to add songs, cut others and keep the evening short and sharp is noted here. By the time we arrive at the finale, “We Stand”, you feel satisfied, and never undersold on the production. 

From Gillard’s incredulous reactions to mainstream media, through to a fictionalised sister of The Bard, an exceptionally punny song by Mary Magdalene, soulful opposition against the most vile of sexism thrown at Billie Jean King , and fiery brutality by Frida Khalo, you’ll leave with your favourites in hand and heart. Ahh-men.

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TEAM

Carmel Dean  Music and Lyrics

Miriam Laube  Additional Lyrics

Lynne Shankel  Orchestrations

Blazey Best  Director

Cast

Stefanie Caccamo

Zahra Newman

Elenoa Rokobaro

Ursula Yovich

Sarah Murr  Standby

Musicians

Seb Bartels  Guitars

Ali Foster  Drums/Percussion

Sarah Homeh  Bass

David Gardos  Piano/Keys

Creatives

Michelle Guthrie  Producer

David Gardos  Musical Director

Grace Deacon  Set and Costume Designer

Kelsey Lee  Lighting Designer

Tom Brickhill  Sound Designer

Susie Henderson  Video Designer

Lisa Callingham  Choreographer

Margaret Thanos  Assistant Director

Isabella Kerdijk  Stage Manager

Krystelle Quartermain  Assistant Stage Manager