Way Beyond The Blue, Theatre Upstairs

The idea of the central character, simply called 'The Woman', taking photos as she wanders her town is very apt for our world of selfies, instagram and every other social media outlet. The idea that we spend more time photographing the world rather than enjoying the moment is a pertinent debate. What makes it different is this is the world of the 1950s and not today, the wonderful Disney style, lush score and music, including if I am right, Hymn to Joy, and pop and blues songs highlight this fact. It is so well realised, with the white picket fence and roses clumped together to one side that you expect Jimmy Stewart to saunter on in and wish everyone a good day. But like the picket fences of American Beauty, there is something beyond the ideal blue sky, a darkness, secrets that are in the town that prides itself on working together.

This world is realised extremely well from every angle. Nessa Matthew's language reflects the movies the work is inspired by, as does her innocent portrayal of the central character, and the other townsfolk that occupy the world, giving colour and light to Katie Davenports already spattered colour set, with the centre framed off as a picture, but also the viewing lens of the camera itself. The camera is never seen, it is held, we are aware of it (click!) but in itself it isn't there, as the woman documents a day in the life of the town, developing her pictures in the wonderful red lit darkroom, one of the many lights and shadows from Teresa Nagel's truly brilliant lighting design. 

It is a one woman show, and Nessa Matthew's, who also wrote the piece, is well up for the challenge. Simply put, she delivers an excellent, evocative, compelling, and very controlled performance, under the inspired direction of Sarah Finlay, who brings every aspect together to create a wonderful whole that transforms in an abstract way the intimate space of Theatre Upstairs, and at times makes it even more intimate. The choice of music, the songs, the way they are delivered, underscoring the action, is a high point brought to fruition through Matthews' and Becky Murphy's sound design.

There is a lot of shadow in this play, but the blue skies that she sees is what we all yearn for. At the centre is a party for the homecoming of the son of the wealthy family, allowing for romantic intrigue and the darker underbelly of the town itself, beyond the blue and the wholesomeness of a George Bailey. It is a visually and aurally striking production from the resident company Fast Intent, with many wonderful touches, and a wonderful central performance from Matthews, who also shows us, if only for a moment, a wonderful strong singing voice. If only there was some more of that in the piece. A fine, fine way to finish off the year at Theatre Upstairs.