Moonshadow

Review by Angie Bedford 

Times have changed. Musicals no longer begin with a book, an idea, a song…

These days many shows evolve from films or soundtracks. Moonshadow (featuring the songs of Cat Stevens) joins a long list of jukebox musicals shaped around the works of recording artists.

Key to this concept working financially is the pulling power of the artist. Time will tell if there are enough children of the ’60s and ’70s to fill the Princess Theatre in its 12 week season. 

The other key is making the concept work artistically. Often jukebox musicals embrace the paper thin storyline and aim purely for fun: think We Will Rock You.

Moonshadow’s genesis is interesting. Cat Stevens (now Yusuf) originally presented the work as an autobiographical piece, but then decided to create a musical based on an Inuit Folk Legend – a hell of change. This legend is what we see onstage here in Melbourne – a lively, magical quest story. 

I can easily say this is one of the most surreal productions I’ve ever seen, and one of the most polarising. There’s a lot to admire here: gorgeous scenic design and some great performances, but also lots to dislike: a simple storyline complicated by bizarre changes in setting and shonky embedding of a number of the 40 plus songs.

Welcome to Alaylia, a dark planet lit only by the Moon. Evil spirits control the short supply of light to struggling Alaylians. Stormy (Gareth Keegan), is a loner thanks to his spiky blonde hair. He and Lisa (Gemma-Ashley Kaplan) dream of mystical Shamsia, a mythical land of the lost son. 

Stormy seeks to find the Shamsia, assisted by friendly shadow Moonshadow (Jolyon James), and we follow his quest to edge of darkness, and watch as he tries to avoid temptation presented by Princess Zeena (Marney McQueen). 

Narrative wise we have Neverending Story 2 and Labyrinth’s less talented child. Dialogue and humour is cumbersome, leading to an awkward audience response. The ending is puzzling and unsatisfying. 

Yusuf’s music is suitable thanks to its beautiful storytelling, although a number of songs aren’t necessary. ‘Father & Son’ finds an easy way in, as does ‘Wild World’ – a showstopper for Sally Bourne as Stormy’s mother. ‘Moonshadow’ and ‘Morning has Broken’ provide a fitting finale musically, but the movement is passive (we don’t even get a kiss between the reunited lovers!) .

Casting overall is quite strong, but Director Anders Albien doesn’t appear to have decided exactly what accent is required – a mix of Australian and British accents against the backdrop of a small Russian style village was distracting. Able performers Rodney Dobson, Marney McQueen and Blake Bowden shine, despite the limitations of the dialogue. Gareth Keegan and Gemma-Ashley Kaplan as the star-crossed lovers perform admirably, both singing beautifully. 

A small group of musicians play the mixed score well. Piercingly dramatic one moment, acoustic and soulful the next. 

Design wise it is was a relief to see a show on this scale, as promotion materials really painted a poor picture for me. Projections (Nimrod Weis) are used to good effect, extending beyond the proscenium arch. Scenery overall (Doğan Ür and Adam Gardnir) is comprehensive, meeting the challenge of numerous locations. Costumes by Harriet Oxley are fittingly drab, but the reveal of colour at the end certainly needed a lot more panache to justify it as a climactic moment. 

The best bit about the entire production is Moonshadow himself, a haunting but comforting dark figure on stilts. The character itself is quite striking, and has the potential to be a wonderful legend in a children’s book. Dark robes, makeup and a crescent moon mask make Jolyon Jones unrecognisable, but his movements are beautiful, as is his lovely voice. This is definitely a performance I’ll remember for years. 

With some tweaking of the Narrative, this could be one a spectacular children’s production, capable of taking the world by storm. I know if I was marketing the show for overseas, I’d be focusing less on the Cat Stevens angle and more on the ‘musical fantasy’ byline. 

I wish the team the best for the continued development of this new musical.