Pinwheel’s fourth production at the Hayes Theatre sees Women on the Verge of a Nervous Breakdown open to an affirmative response in the small theatre known for big productions.
Based on the 1988 film by Spanish director Pedro Almodóvar, the musical by Jeffrey Lane and David Yazbek opened on the New York stage in 2010 to mixed reviews but eventually picked up a Tony and the Outer Critics Circle Award.
With a cast of 11 and around 35 support roles, this production is a master class of singing, choreography, music and staging as it presents a farce of vast chaos with an intimacy only achievable on a smaller stage.
Set in Madrid in the pre-mobile era of the late 80s, the musical opens with the Mambo Taxi Driver (Aaron Robuck) singing Madrid Is My Mama, wrapped in a red curtain as he introduces us to the busy city.
The lightning changes and we see into the world of Pepa (Amy Hack) a voice-over artist who involved with another voice-over artist, the promiscuous Ivan (Andrew Cutcliffe).
Ivan has just left her a message on her answering machine, which ends abruptly. Hoping that he will be at the recording session, Pepa learns that he has already recorded his parts and left, leaving her to sing Lie To Me.
Ivan’s ex-wife wife Lucia, played to Imelda Marcos intensity by Tisha Kelemen, is suing him for desertion, while trying to helicopter parent her son Carlos (Tomas Kantor), as he is making plans to move out of home with his fiancee Marisa (Nina Carcione).
On their hunt for an apartment, Carlos and Marisa end up at Pepa’s apartment, where they learn of her relationship with Ivan. Early the next day as Pepa is trying to unravel even more messages, her best friend Candela (Grace Driscoll), a model, walks in.
Candida has just found out that her boyfriend may be a terrorist, leading to the song Model Behaviour, before she attempts suicide.
With Carlos convincing Ivan to go to the apartment, Pepa prepares a batch of gazpacho laced with sedatives, just before a doctor pronounces her pregnant.
As you can gather, Pepa and all those around her are indeed on the verges of nervous breakdowns. With this fast-paced comedy gathering speed, there are tense moments as its races towards it denouement.
Amy Hack as Pepa, delivers a wide range of emotions while never losing her centre in the chaos rising around her. Her singing voice is strong and clear, even when it is overwhelmed by the rhythm section.
Andrew Cutcliffe’s voice and good looks gives him a commanding presence throughout the musical helped by the comic touch of him always holding a microphone.
Tisha Kelemen’s Lucia follows a broad dynamic arc from bitterness to revenge culminating with her show stopper tune Invisible.
As “the best model I know” Candela, Grace Driscoll imbues her role on the edge with empathy and attention to her crystal clear singing voice, while her suicide attempt adds another layer to the chaos.
Aaron Robuck is the taxi driver who is our guide to Madrid, getting us from one scene to another. He steals his scenes with comedic ease and is one of the outstanding voices of the night.
Nina Carcione’s Marisa maybe a minor character who spends most of her stage time in a drug daze, but she also plays a major role in exposing Lucia’s complexity of character.
Tomas Kantor is Lucia and Ivan’s hapless son who gets what he really wants by the end. Sean Sinclair and Mel Russo play multiple roles, all with distinction.
Director Alexander Berlage has done an admirable job of keeping the pacing going while never losing sight of the storyline. His direction also avoids the trap of having the musical numbers slow down this rapid-fire farce.
The hero of the night is Hailley Hunt’s single set that is adaptable for numerous locations. Choreographer Chiara Assetta has made the small stage work for her and the cast.
Costumes by Sam Hernandez are perfectly suited for the era, but in particular Pepa’s striped suit and Lucia’s matronly attire. Lighting from Phoebe Pilcher works well in differentiating scenes and location changes, while Dylan Pollard’s musical direction adds to the night’s intensity.
Women on the Verge of a Nervous Breakdown is a masterclass of taking a large scale musical and making it work in an intimate environment.
Women on the Verge of a Nervous Breakdown
Hayes Theatre Co, 19 Greenknowe Avenue, Elizabeth Bay
Performance: Wednesday 14 May 2025
Season continues to 8 June 2025
Information and Bookings: www.hayestheatre.com.au
Images: The Company of Women on the Verge of a Nervous Breakdown – photo by Daniel Boud | Amy Hack, Grace Driscoll and Tomáš Kantor in Women on the Verge of a Nervous Breakdown – photo by Daniel Boud | Amy Hack and Aaron Robuck in Women on the Verge of a Nervous Breakdown – photo by Daniel Boud |
Review: John Moyle