Virgin Warrior

‘Virgin Warrior’ was written by Trevor ‘Zig’ Byfield and Peter Perchard. The Australian Premiere of this rock opera was first staged in 1986. This two and a half hour production plays at the Phoenix Theatre, Memorial Hall, Corner of Carrington Street and Rockingham Road, Hamilton Hill nightly at 8.00 pm, until Saturday 10^th March, with 2.00 pm matinees on the 4^th and 11^th March.

A one-off special show will be held in Perth’s Supreme Court Gardens on March 17^th from 5.30 pm.

In spite of having Salvation Army ministers for parents, Zig Byfield is possibly best known for being a gang leader in such UK TV shows as ‘The Bill’, ‘Minder’, ‘One Foot in the Grave’ and ‘Only Fools and Horses’. Initially a cabaret singer, Zig’s interest in rock and roll started in 1959. He went on to have major roles in musicals including ‘Hair’ and ‘Jesus Christ Superstar’. He now lives in LA.

Zig’s musical partner, Peter Perchard, started life on a women’s magazine, Flair. When offered the challenge of staging the colossal New Musical Express Poll Concerts at Wembley, he moved on to the NME. He had on the same bill the Beatles, Stones, Animals, Kinks, Walker Brothers, Cliff Richard, Roy Orbison, Tom Jones and Dusty Springfield. He certainly knew what a musical spectacular should look like. 

 

 

 

        It is the 15^th Century in eastern France. A 14-year-old Roman Catholic girl, Joan (Melissa Kiiveri) is doing the household chores for her parents (Adam Salalliel, Amy Tyers) when she is visited by four Holy representatives of God (Sheryl Gayle, Celeste Eden, Jayde Clarke, Bronte Turpin), their leader (Danni Close) tells Joan that she had been chosen to have divine guidance, and that she must fight for the Dauphin (Ryan McNally), the uncrowned King Charles VII.

        Joan is told to go to Orléans, so with Tybalt de Grey (Brady – great performance) she leaves her friends and family. In Orléans she is named ‘The Maid of Orléans’ by the locals (Piera West, Kelly van Geest, Crystal Suche). In the siege of Orléans that follows, the fighting is fierce (Steve Osborne, Lucy Osborne, Peter Osborne, Jack Fisher) and the English enemy are defeated. Joan goes on to lead the French army to numerous significant victories throughout the Hundred Years War. Charles VII's coronation takes place at Rheims so settling the disputed succession to the throne.

       Despite her charismatic nature and the strong support of Étienne de Vignolles, known as La Hire (Tim Viljoen - great voice) and Robert de Baudricourt (Angus Howell), the tide turns and some of Joan’s friends and servants (Christopher Doney, Gilbert Hewitt, James Hynson) are slain. She is captured by the Bugundians, handed over to the English, tried by the Bishop of Beauvais and found guilty of heresy and blasphemy. A bonfire is erected and after being refused a blessing from the monks (Gary Ienco, Antony Lonsdale), at the age of only 19 Joan is burned at the stake on 30^th May 1431.

 

Post script: Twenty-five years after the execution, an Inquisitorial Court authorised by Pope Callixtus III re-examined the facts, pronounced her innocent and declared her a martyr. Incredibly, Joan of Arc wasn’t beatified until 1909 and canonised in 1920.

 

What a powerful little musical this is. The backing track, supplied by the writers, is catchy and incites foot tapping. The musical director (Paul Olsen) has this large cast totally under control. The lyrics covered a large range of genres, soft ballads to powerful war songs. Did I spot ‘The Days of Pearly Spencer’ in there? The singing was impressive, and the action flowed beautifully. Mel has been very well cast; she has the delicate, innocent appearance coupled with a soft melodic voice (reminiscent of Marianne Faithfull in her youth).

Before the curtains even opened, Graeme Johnson’s soundscape was impressive. The stunning lighting design was by Don Allen, and skilfully operated by Brett Muller. The multilevel stage gave interest, and a large area in front of the stage itself was employed for the action scenes. Despite the complex situations and handling the wonderful armour, the stage manager, Pauline Lawrence, capably managed the tricky effects. The whole setting came together beautifully to give an exceptional atmosphere. There really was smell-o-vision at the burning scene.

Due to other commitments, I have reviewed the last rehearsal. A good solid presentation.

The award-winning director, Jane Sherwood, has never been one to avoid a challenge, ignoring such warnings as ‘avoid working with children and animals’. Jane comes up with some prize-winning shows. Again she has sought out a musical, this time with a dramatic and sad theme, and yet still managed to put life into the music and singing, without losing the tragic background atmosphere.

Very impressive.