Lorelei

‘Lorelei’ is a new concept in theatre, created by Mark Storen and Chris Bendall. This World Premiere treat follows their triumphant floor show, ‘Lonely Hearts Club’. This exciting presentation takes place at the Deckchair Theatre, Victoria Hall, 179 High Street, Fremantle; these experiences are at 8.00 pm nightly until Saturday 12^th November, with the Tuesday shows being at the earlier time of 6.30 pm. There are also matinees on Thursday the 10^th November at 11.00 am, and Saturday 12^th November at 2.00 pm.

With luck the sea will be calm as you are welcomed aboard ‘Majestic’, a luxury 1936 cruise ship. Showing your luggage label and cabin number, you are led into the ship’s luxurious lounge, with its glittering chandelier. You weave between the three dozen tables, draped with a dark cloth and glowing red gauze adorned lamps. The lights dim and the story begins.

         It is the 1930’s depression, in the rough trading port town of Fremantle. A couple of young, local singers, Lorelei (Rhoda Lopez) and Buzzard (Mark Storen) have fought their way to success. Then beyond their wildest dreams, at a time when only the rich and famous can afford to travel on liners, they are offered a cabaret contract on a cruise ship. Filled with excitement and hope, they set sail.

         Under the musical direction of musical maestro and pianist, Tim Cunniffe, accompanied by guitarist and drummer, Joe Lui, the cabaret entertainment begins.

        The holiday makers love the couple’s incredible musical talents. Some of the male travellers love Lorelei’s talents a little too much for Buzzard liking. He becomes jealous and moody.

        Whilst in the port of Shanghai, calamity, songbird Lorelei sees someone from her past and she disappears. Has she run off with another? Should Buzzard remain on the ship and continue to perform alone? Heartbroken, Buzzard starts his search for his mysterious songstress; however, tracking her down proves far more difficult than expected. The tension builds as he travels across vast oceans and through various countries, in an attempt to unravel the surprising truth relating to his love’s secret past.

A top nightspot atmosphere has been superbly created by Fiona Bruce and her assistant, emerging designer, Sara Chirichilli. She has constructed a wooden harbour pier running the length of the hall, situated just inside the doors; this links the stage with its rich red, looped satin curtains, to the intimate solo area at the back of the ship’s lounge.

The performers have a huge number of moves, disappearing at one end of the hall, and reappearing, only seconds later, in a new costume at the other end of the lounge. Every inch of the venue is employed, as the couples perform and as Buzzard seeks his lost love. Thanks to movement consultant, Lisa Scott-Murphy and dramaturge Damien Millar, the audience became totally involved in the story and the excitement of the situation grew as the performance progressed. The choreography was superbly planned.

Fiona Bruce’s costumes range from the unkempt, drunken Buzzard’s rags to the stunning costumes of the beautiful Lorelei. The patterned material, the A line dresses, the various evening dresses and casual wear all demanded accuracy, but the whole show was wonderfully thought out. Even the striking programme had hours of research and design.

The skilfully chosen variety of music perfectly reflects the era, and the rhythmical lyrics of the songs, blend flawlessly with the storyline. The music incorporates that of the day, such as Cole Porter, through to Sinatra, and Tom Waits, and then on to such contemporaries as Nick Cave’s ‘The Ship Song’ and Lily Allen’s ‘The Fear’. The styles of the songs have been adeptly changed from the originals to match the mood of the scene and create a smooth flow of the numbers. The singing ranged from delicate ballads through to Cleo Laine-like jazz from Rhoda, and a Joe Cocker approach from Mark. The house went wild at the end of the singers’ emotionally charged rendition of Nina Simone’s ‘I put a spell on you’, an absolute triumph.

The lighting design, with such a huge area and so many locations to cover was complex, but lighting designer Nick Merrylees didn’t simply settle for ‘that will do’, he created the perfect atmosphere at every setting. The intricate tech operation was smoothly carried out by Craig Williams and Nathan Da Cunha. The period’s authenticity was ensured by video editor Kirrilly Brentall, with some astonishing transport video clips of the era, coupled with realistic sound effects (Roger Miller). The sound engineer and designer have created the old apple and biscuit stand microphone held in a 1930s cradle. Again, just another attention to detail that takes this show from good to magnificent. A massive challenge for the production manager, but Gareth Simmonds performed brilliantly.

Director Chris Bendall (WA Equity Guild Award, Best Director 2009) assisted by emerging director, Joe Lui, have delivered a truly melodious account of love, with around 30 songs and poetic quotations, brilliantly interpreted and sung by tuneful Mark, and Rhoda with her perfect pitch and velvety voice.

One of the rare ‘complete’ productions. Stunning and oozing talent. Many shows are already sold out.