Heartbreak is universal
The tagline for Magnetic North’s multimedia production of We Will Hear The Angels is “what happens when all you want to do is sing the blues and someone hands you a microphone?” but this doesn’t do justice to the riches that lie within.
The performance opens with a pacy movement piece, with our five actor-musicians traversing the space and snippets of internal monologues, and projections on the brick wall behind. Directed by Nicholas Bone and Marisa Zanotti, Nicholas is the writer, and one of the performers too, acting and playing the guitar. The rest of the cast is formed of Apphia Campbell, Caitlin Forbes (also plays violin), Marie-Gabrielle Koumenda (also plays guitar and shaker) and Greg Sinclair (also plays cello)
Nicholas, Apphia, Caitlin and Greg tell their stories to Marie-Gabrielle, in snapshots of unrequited love, the discovery of an affair, rediscovery and fresh pain of an old love. Each with it’s own unique and exquisite pain, but universally recognisable. This is all underpinned by the refrain of Moondog’s All Is Loneliness, and projections. Inspired by Hitchcock’s Rear Window, we’re given these insights into various rooms within the same building, and finally tying Caitlin and Nicholas’ stories together with a final exchange taken from Chekov’s Uncle Vanya.
We continue with Nicholas singing casually, almost to himself, Hank William’s I’m So Lonesome I Could Cry, as he wandered around the stage, followed by more formal performances, in front of the microphone by Caitlin and Greg. Caitlin’s rendition of Pasty Cline’s Why Can’t He Be You, was at turns soulful and sardonic, accompanied by a deeply Scottish lip curl. The momentum changed with Greg’s song – Rip It Up, by Orange Juice, a melancholy indie flair. However, Apphia’s turn at the microphone, complete with tears in her eyes, delivered a gut-wrenchingly impassioned version of Etta James’ I’d Rather Go Blind. The segues, choreography, and transitions are beautifully timed, and additional music is well placed.
In the final act, the performers come together as a fivesome for a deeply affecting version of Brian Eno’s Spinning Away, with Apphia and Marie-Gabrielle’s gorgeous vocals accompanied by the others, and a fitting conclusion of looking to the stars.
Within the industrial brick, wood and metal beams of the Fruitmarket Warehouse, the stage is surrounded by horseshoe seating, with rows of chairs and stools. Depending where you sit, each audience member has a unique view of the floor space and the performers, although at times, this can be hampered by the beams. Also it’s worth mentioning that whilst an hour on a backed stool is more than manageable, I would recommend going early if you prefer a chair.
Tonight was the first night of the run, after the previous night had been cancelled due to adverse weather, and there were a couple of discordant notes at times, and a few occasions where mics picked up fluffiness from clothing, but on the whole, this complemented the sense of rawness to the performance and was not overly distracting.
This is an unusual show, and those looking for a traditional musical theatre show will have to keep looking. This delivers so much more – an unique insight into universal heartbreak. In the time since seeing the show, I’ve replayed the characters storylines over, wondering how the permutations may have played out, with the scars of their heartbreak hidden from those around them, and only unveiled to those of us lucky enough to have a ticket.
“We Will Hear The Angels” runs until Thursday 6th February (no performance on Sundays or Mondays). You can book tickets here.