Singer-songwriter Tim Finn of Split Enz and Crowded House fame doesn't go to a lot of musicals.
"It's not like I'm a musical theatre aficionado," he says. "When it works, it's the best thing in the world, but it can be very naff. It's a fine line."
That fine line has apparently been trod to perfection in his musical 'Ladies In Black', for which he composed the full musical score. It has recently received a Helpmann Award for Best New Australian Work, and has been given a second run in Melbourne, a run in Brisbane and a season in Sydney, as part of the Sydney Festival.
Perhaps it is this fresh approach to musical theatre, borne of 40 odd years in the rock music industry, that audiences are finding so appealing. Tim agrees that the drama of being in a rock band made him a natural writer for the stage. "A band is in its own universe, there's a lot of drama and conflict. When you are travelling up and down the motorway, it all comes out."
'Ladies In Black' is based on the Madeleine St John novel 'The Women In Black', which consists of three interweaving stories about women working in a fashionable department store in Sydney in the 1950s. These characters came to life for Tim when he read the book while seeking mental escape from the oppressive heat and seclusion of Bougainville. It was the vivid nature of St John's descriptions and the lyrical nature of her writing which inspired Tim to begin writing the songs which would become 'Ladies In Black'.
However, over and above these things, he was impressed by the unique humanity of the novel's tone. It gave workers in domestic situations dignity, which he and writer Carolyn Burns with Director Simon Phillips fought to preserve. "There is zero mockery (of these characters). That is what I loved about the book, it's not a parody or satire, it's very tender and yet there's a razor sharp intelligence at work. So it's acutely observed."
While Tim acknowledges there is an undertone of social commentary in 'Ladies In Black' as characters reflect on how generous Australia was towards immigrants, for the most part it is a humanistic and timeless story. "Different generations, particularly women, like a grandmother with a mother with a daughter, the three of them would come and see the show and there would be tears and there would be recognition going on," he says. "You could say that the story arcs are quite simple... (But) daring to dream big and daring to keep your heart open. These are stories that, despite our modernity and sophistication, still run hugely through our lives."
Image © Rob MaccollIt is the main character of Lisa, who dreams of a creative life outside of working in department store, that Tim could most identify with. "I know growing up where I did in a small town in New Zealand, that if I had told my friends when I was 16 or 17 that I wanted to be a songwriter, I probably would have got the same reaction (as Lisa) which was laughter and slight mockery... I could sort of relate to that momentum and excitement of reinventing yourself in a new place."
Tim says he was never fighting against his family to dream big, but "when I dropped out of university after a year and formed Split Enz, my parents were quite dismayed and upset."
Tim agrees that 'Ladies In Black' seems to hold particular interest for women theatregoers, not only because of the characters, but also due to the time period and setting. In 1950s Australia, department stores were a social space where women could connect to international culture through fashion. "Magda, who is the Hungarian woman who takes Lisa under her wing, she works in a section of the store called Model Gowns. I wrote a song, of course, called 'Model Gowns'.” He says beautiful period costumes make a strong contribution to the 'Ladies In Black' experience. "If you are into fashion, there is plenty in the show."
Image © Rob MaccollOne of the more theatrical bands to hit the Australian music scene, Split Enz embraced this connection between sound and visuals, and was perhaps a unique training ground for Tim's work in musical theatre, since inspiration appeared to happen similarly, but in reverse. "The look of the band was created from within the band. The percussionist made the costumes. He studied sculpture so I think, in a way, we were like an organic piece of sculpture for him. He was responding to the music, the music was what was feeding it."
So does Tim himself dream big when it comes to the future of 'Ladies In Black'? "I can see it playing in London because they lap it up over there... 'Neighbours', 'Home and Away'." He acknowledges, however, what a huge task an international showing would be.
"One step at a time. Just to get it up again for a second run and into Sydney Festival is wonderful."
Ladies In Black Tour Dates
Tuesday 3-Sunday 22 January – Sydney Lyric TheatreSaturday 28 January-Sunday 19 February – Queensland Performing Arts Centre
Wednesday 1-Saturday 18 March – Regent Theatre (Melbourne)
Monday 27 March-Sunday 2 April – Canberra Theatre
