The cast of A New Brain | Sidetrack Theatre
God only knows it’s hard to find a niche for a new musical. I mean, it’s all been done! Nevertheless, A New Brain has inveigled itself into a tiny, narrow space previously unassumed. Perhaps only lyricist and composer William Finn (the book’s by James Lapine) could’ve done it, given his pedigree for novelty, as evidenced in Brain’s predecessors, The 25th Annual Putnam County Spelling Bee and Falsettos. After all, musicals so often — probably too often — rely on cloying sentimentality or ridiculousness. Finn, however, aims to invoke sympathy, empathy and even tragedy, slapbang in the middle of a comical number. So, while this musical’s title might put one in mind of Steve Martin performing screwtop cranial surgery (such as might be recommended for, say Barnaby Joyce), it stands for and leaves one with a whole lot more.
Gordon writes songs for a children’s programme, featuring a frog. He feels his compositional skills aren’t exactly being taxed and is smack-band in the middle of his pre-midlife crisis, having lunch with his agent in a cafe, when seized by some kind of brain event. He falls into a coma. Agent, lover and mother rally around, steeled for the likely worst-case scenario. Ironically, it’s one of his amphibious mantras that brings him around. Incredibly, as I understand it, it isn’t fanciful, convenient fiction, but has roots in the reality of Finn’s own life.
As you’ll probably guess, there’s plenty of room for ridicule and parody, given the parameters of the script: what with spontaneous arteriovenous malformations and the recurring appearance of Mr Bungee, the green curse of Gordon’s writing life and obstacle to his aspirations. Emergence from a prolonged coma, however, would appear to have a tendency to bring one’s life into sharp relief and enable prioritisation formerly submerged in procrastination in denial. This proves to be the case for Gordon, but the outcomes of his epiphany aren’t so miraculous as to stretch credibility: both he and his loved ones realise complete change is hard to do. Not quite convinced? Well, neither would I be, I expect. The believing is in the seeing; the proof in the pudding.
But whatever the merits or demerits of the musical itself, this production is a near miracle, even if Gordon can’t effect one in his own life post-op. Why? Well, try staging a full-blown musical in a less than major or mainstream theatre, on a paltry budget. Then try and engage a matinee audience, in a dark space, on a clement spring day, when the natural question is, ‘what am I doing here?’ Yet this absolutely fabulous cast did just that. I can’t imagine a more uniformly talented, luminous cast being recruited for an ALW extravaganza and have rarely, if ever, seen it. The wonderful people at Squabbalogic are those deserving the kudos.
Gavin Leahy is completely believable as the neurotic Gordon; the very picture of deadline-driven anxiety and one with which many scribes will readily identify. His troubled relationships with his mother, lover and others are portrayed as the struggle they are for so many of us, yet his abiding love for each is palpable and easily visible, even through his jibes and masks. He even cuts it as quintessentially Jewish, which is a key component of the character. Beth Daly doesn’t quite hit that mark, but as an incarnation of a committed, invasive mother with he emotional resilience of ten men, she, too, makes the grade. Blake Erickson, as boyfriend, Roger, calibrates his performance superbly, wavering between strength and tenderness, as the changing nature of the situation demands.
Keira Daley, fresh from her recent, highly-promising foray into original cabaret, returns, as agent, Rhoda, with all her musical skills still buzzing, though, for whatever reason, she did seem somewhat nervous. Not that it affected her delivery one iota. Jay James-Moody gets to hop around as the disturbing Mr Bungee and makes the very most of his metaphorical status as the bane of Gordon’s life, arguably representing his conscience, or something like that. (Freud, or Jung, would’ve had a field day.) Laura Murphy tickled my fancy as the waitress, eager to pass her headshots onto Roger, once she sussed his showbiz connections. She’s equally delightful as a nasty, sadistic nurse. Shondelle Pratt draws on her stockpiles of charisma to play a bag lady, who hides her compassionate light under a streetwise bushel. Garth Saville is also right on the money as the doctor who delights in strokes and anything else that might add a bit of interest to his day. Mark Simpson is nice nurse, Richard, always on-call to administer a sponge bath for the patient. Finally, Mark Sippel, as the minister, earns his collar.
What this all adds up to, of course, is the stunning cast to which I alluded earlier. All of these people sing, move and act far better than merely well. Which again had me pondering where all this talent comes from and how it remains relatively hidden from hundreds, or thousands, of theatregoers. Even more importantly, why? Are producers at large lazy? Uninformed? Serially nepotistic? Unimaginative?
A lot of credit must go backstage, as well. Director Craig Stewart has fully-realised this difficult mission. Alex Ash’s musical direction is precise, reliable and vibrant. Design would appear to be uncredited but, suffice to say, we’re transported to different locations in a fuss-free, fluid way; props are well-chosen and used ingeniously.
Regrettably, by the time you read this, the season will have just concluded. If you get wind of another, back it by buying tickets. Better yet, if you’re a big-time producer, back it for a hit show in a bigger venue. It deserves it. A New Brain is a new-wave musical. It’s doubtful whether it’s one for, say Phantom fans, or the G&S set. But if your taste runs to Rent, or Urinetown, you could well be in the demographic. You might even jump so high, you split your tights!
The details: A New Brain played Sidetrack Theatre in Marrickville from October 26 to November 12.
