The musical Ladies In Black is set during the late 1950s in Sydney, which at times seemingly parallels today’s political and social climate: an Anglo-Saxon city teetering towards multiculturalism, where immigrants are referred to as ‘continentals,’ and a woman’s place is in the kitchen rather than at university.  Ladies In Black is an endearing coming-of-age story, but is even more an exploration of an era where attitudes and values were beginning to shift in a rapidly changing world.

Adapted for the stage by Carolyn Burns from the novel by Madeleine St John and under the direction of Simon Phillips, the plot follows Lisa Miles (Sarah Morrison): an intelligent, 17-year-old bookworm raised in a working-class, suburban family who dreams of going to university and becoming a poet like her idol William Blake.  Her views on life are expanded when she is hired as a Christmas casual at Sydney’s prestigious department store Goode’s.  Her female co-workers, all dressed in chic black, open her eyes to their worldly elegance as well as their insecurities.

Within the cocktail frock department at Goode’s the audience meets unlucky-in-love Fay (Ellen Simpson) a 29 year old woman concerned she might never marry; Patty (Madeleine Jones) whose passionless marriage is strained further by infertility issues; Miss Jacobs (Trisha Noble) the gentle, older woman who lost her fiancé in the war–the First World War; and the vampish Magda (Natalie Gamsu) a Lithuanian refugee married to her Hungarian husband, both of whom have resettled in Australia.

The simple set design was comprised of four mirrored pillars to represent the department store and three revolving floor partitions that keep the show flowing from scene to scene.  The New Year’s party and busy shopping scenes could have easily seemed bare without the large musical ensemble of singers and dancers.  However, true to designer Gabriela Tylesova’s vison and the grace of Goode’s department store, the set and cast of only 11 performers displayed an air of chic in their minimalist transitioning from high-class city department store to humble suburban home.

Similarly, the costumes (also designed by Tylesova) were kept simple and understated using classic cuts and shapes from the late 50s.  As the title suggests, there was a lot of black used during the department store scenes.  The black was juxtaposed with bold block colours such as scarlet red, mustard yellow, olive green and sky blue during the out of work leisure scenes, evoking imagery of vintage Vogue magazine covers.

After coming across the novel by chance at Brisbane Airport, Tim Finn wrote the songs and music to accompany the narrative.  While not overtly '50s in style, the songs do range seamlessly from blues and jazz, to funk and rock ‘n’ roll guitar riffs.  Witty lyrics using clever rhyming couplets added to the story telling.  Titles such as I Got It At Goode’s, I Just Kissed A Continental and the Bastard Song being stand out moments in the show.

Two of my favourite scenes occurred after the interval.  Act Two opens with Fay completely immersed in the romance of her holiday novel: Anna Karenina.  It’s a stunningly theatrical and clever scene as we, the audience, are equally swept away with the lives of the Goode’s staff, eagerly anticipating the blossoming of the lead character Lisa and the triumphs of her co-workers.

The other was the Christmas Day beach scene where Magda, Stefan and Rudi head to a sunny Sydney beach. The cast were dressed in vintage bathing suits, hats and sunglasses while they crooned Finn’s Summer Afternoon, a bossa nova influenced song as they reclined on the beach.  The scene was reminiscent of the iconic airline advertisements of the late '50s.

Whilst this storyline is definitely about women, the male characters still get their opportunity to shine. The charismatic Rudi (Bobby Fox), friend of Magda and eventual love interest of Fay, performs an impressive dance scene  á la Fred Astaire. Stefan (Greg Stone), Magda’s well-read husband, has a particularly interesting role.  He plays the supportive and encouraging husband to a head-strong, intelligent, independent woman in the 1950s. He gives Magda a foot massage, he fetches her wine, serves her dinner–a complete gender role reversal. However much he ‘serves’ Magda it does not detract from his masculinity, like so many would fear especially during the 50s.  Mon Dieu!  In fact, his support for her only strengthens their relationship, love and respect for one another.

Ladies In Black is quintessentially Australian which could prevent it from standing side by side with major international musical productions.  However, its ocker accents and true blue Aussie colloquialisms create a certain home-grown charm, unashamed and unperturbed by the snazzier competition.  One could also draw observations that run concurrent with the stereotypical simplicities of Australian culture in comparison with the more complex and mature elegance of Europe.

Ladies In Black is a charming performance that touches on sexism, bigotry, infertility and mourning lost love with a light hearted approach.  Even as ‘mere shop girls’ each character exudes strength and resilience in what is deemed a ‘man’s world’.  The play cares about women.  Women of different ages, women of all body shapes and of all sizes are represented, respected and celebrated.  Carolyn Burns’ interpretation of the script makes you feel as though you can fully relate to any one of the characters.  You find yourself wanting success for all the characters in the story and the ‘happily ever after’ ending does not disappoint!

Ladies in Black will play until February 19.

DJ Honey