Bearded
A Melbourne theatre review by Alex First
Sean Donehue and Bek Schilling play next door neighbours afraid of coming out in Bearded
Photo by Jacob McCormack
Fear of coming out and the judgment associated with doing so are the subject of a new musical, focusing on the LGBTQIA+ community.
A cast of 21 sings and shimmies its way through 16 numbers, including a reprise, as the story surrounding the final days of a political campaign unfold.
It is 2017, at the height of the marriage equality debate in Australia.
Richard Rawler (Anton Berezin) is a fiery conservative politician, hell-bent on campaigning on traditional family values.
He is facing an uphill battle to be elected.
Quick-tempered, with a sharp tongue, he regards the demonstrative support of his wife Janet and two teenage daughters – Hailey and Bet – as imperative.
Janet (Michelle Fitzmaurice) and older sister Hailey (Belle Parkinson) are on board, but Bet (Bek Schilling) isn’t aligned with her father’s way of thinking.
She is wanting to commit to her school crush, Kelly (Charlyi Jaz).
Bet’s best friend, 18-year-old next-door neighbour Ace McKinnon (Sean Donahue), is in a similar position.
He is struggling to out himself to his single father, David (Michael Lindner).
With her dad leaning heavily upon her, for the sake of appearances – until the election is over – Bet prevails upon Ace to act as her boyfriend.
For the briefest time, the pressure on Bet lifts (even Hailey is being nice to her), but then Ace meets 20-year-old Casey (Alexander Tye).
The pair can’t keep their hands off each other and matters of the heart reach a head in a most unexpected way.
With book, lyrics and direction by Nick Waxman and music and lyrics by Sean Donehue, Bearded is energetic and colourful.
It is ultimately a celebration of being proudly and happily gay.
The story is about identity, about being comfortable in your own skin, without shame.
Unfortunately, bigotry remains a potent threat.
The cast brings with it joyful exuberance.
The music (with musical direction from Miro Lauritz, who leads a five-piece band) is largely up tempo and rousing.
Bearded excels when the entire cast is in full voice.
That is ably supported by stirring, heart-felt solos.
Movement is an important part of the offering. The spirited dance numbers have been well choreographed by Aadhya Wijegoonawardena.
The set is a technicolour dream coat, reflecting the political campaign and impending vote on gay rights.
I should add that the title of the musical is most appropriate, but only time will likely have many understanding why. If not, do a Google search afterwards and it will become clear.
So, Bearded offers much of merit.
Still, I felt the narrative tended to follow a predictable route and started to labour (the piece could have been tightened) until a welcome twist was introduced.
And notwithstanding my overall praise, there were occasions when it was difficult to clearly hear what the performers were saying or singing.
That was inevitably because the music overwhelmed them.
The sound mix in musicals can be difficult to balance and some attention to that here is warranted.
Nevertheless, with buoyancy and bounce, Bearded will find favour, as it should.
One hundred minutes without interval, Bearded is playing at Theatre Works until 18th January, 2025.
