Here Lies Love at The Dorfman

What a transformation!  Not only in the newly refurbished foyer of the old Cottesloe Theatre (now named The Dorfman) but in the theatre itself.  It has been transformed into a nightclub, complete with very trendy DJ, for the production of Here Lies Love.  Yes, The Dorfman is now open and ready for action and action is definitely what’s in store with this new musical, which was originally produced in New York by the Public Theater.

Telling the story of the rise of that famous collector of shoes, Imelda Marcos, Here Lies Love is a disco musical, so named because the ex First Lady of the Philippines (who, by the way, is still alive at 85) once said she wanted this epitaph written on her tombstone.  My abiding memory of Mrs. Marcos is of her passion for shoes but this is not mentioned in this musical about her life, co-devised by the American singer-songwriter of Talking Heads fame, David Byrne and our own Grammy Award winning DJ Fatboy Slim.  Instead, we are drawn into the world of peasant girl made rich, with the help of a pulsating beat, laser lights, psychedelic projections, moveable platforms and a large cast.  The only problem is that, whilst this journey constantly assaults the visual and auditory senses and is definitely entertaining, it left me strangely unmoved and at times bewildered at what was actually happening at certain stages of her life. 

As in all good rags to riches stories, Imelda Marcos grows up in poverty and marries well thanks to good looks.  Her wedding to Ferdinand Marcos takes place in 1954 following an 11-day courtship and in 1965 he is elected president, thanks in no small measure to his wife’s ceaseless campaigning on his behalf.   Corruption, profligate spending and sexual shenanigans on their part blights the couple’s reign as President and First Lady and when the people have had enough and take control of the TV and radio stations, the pair are airlifted to America by US marines.  During their command of the Phillipines, an old flame of Imelda’s, Benigno Aquino, an ambitious reporter who always had political aspirations, is elected opposition leader in 1969.  Despite intervention from Imelda that enables Aquino to travel to the US for a heart bypass operation, he is assassinated as soon as he returns to Manila in 1983.  It is not really clear whether or not the first lady is upset by this turn of events. In fact such is the pace and verve of this disco musical that the quiet and contemplative moments are sparse.  This production resembles a pop video on 'speed' and there is very little dialogue.  The only moving part of the whole evening is at the end when the final song is sung to the accompaniment of a single guitar.

I sat in the balcony, so am sure my view of the whole thing was very different to those whose tickets enabled them to be part of the action ‘on the floor’.  Here they are herded by stewards in pink jumpsuits, making sure no-one gets squashed by the moving podiums and revolving catwalk.  This all looks rather messy from up above but I’m sure makes the evening much more involving for those being herded.  In fact this part of the audience is crucial to the action (being as they are) stand-ins for the Filipino crowds at various rallies etc.

The performances from the cast are excellent, especially Natalie Mendoza who makes a perfect Imelda, nicely highlighting the change from poverty stricken young ambitious girl to rich, dead behind the eyes, middle aged woman.  Gia Macuja Atchison playing Estrella Cumpas, Imelda’s childhood friend and later maid is also excellent.  Her character, the real voice of the people, deserves more time in the spotlight.  All credit, too, to Martin Sarreal who makes a wholly believable DJ.

The Dorfman, with it’s brand spanking new refit (which includes state of the art loos) has opened with a stylish production which, if not worth a handful of stars, is nevertheless a whole load of fun.