DreamSong – Carnegie 18

dream songDreamSong was presented as part of the Arts Centre’s Carnegie18 New Music Theatre Series, and was essentially a moved reading.  Director Michael Gurr prefaced the performance by saying that we were seeing an abridged version of a much longer piece.

The program states “DreamSong is a show about the way faith cultivates desire rather than fulfills it”, using the American megachurches as its focus. Where The Book Of Mormon took the mickey out of Mormons, DreamSong aims to do the same to large American Christian churches.

The opening number is excellent. It sets the scene of the church and the main characters (Pastor Richard Sunday, his second wife Whitney Sunday and their daughter April Sunday), drawing on many typical TV preacher cliches. The music is arena rock based – with nods to Jesus Christ Superstar and Jim Steinman – and very much in the “megachurch musical style”. The storyline is swiftly set up when Neville (well played by Nelson Gardner) tells Ps Sunday (John O’May) that the church needs money and that only Jesus could save them. Telling Neville that his idea is perfect, they decide to stage the second coming of Jesus Christ to draw in the funds needed to stay afloat.

This is where things begin to go awry, not just in the story, but also in the construct of the musical. First things first, the story concept is a brilliant one; open to humour, pathos and a satirical look at the whole megachurch phenomenon. The problem is, the characters aren’t always three-dimensional or even likable: the cliches never quite give way to any real character depth or heart. Only April (performed with sensitivity by Stefanie Jones) is someone we can believe, but by the end of the show, even she resigns herself to just following along with everyone else, to “forgive, forget and be redeemed”. As an audience member, I wanted to like someone, but by the end, there was no-one to truly identify with.

Also Read:  The Seven Deadly Sins

Writers Hugo Chiarella and Robert Tripolino went on to say that they thought they had handled the subject matter with sensitivity.  Unfortunately, I don’t feel they have. Although there are moments of excellent comedic writing, the songs are well-written and mostly well performed, I believe they’ve missed the mark in some cases. At times the writing crosses the line from dark satirical humor to being overtly offensive. It’s fine to throw questions and hold up a mirror to something, as long as you have some answers for it too.

However, as with all Carnegie18 pieces, DreamSong a work-in-progress. There is some merit here. The team of Chiarella and Tripolino are a great creative team, and they obviously have a great idea for a musical. The key now is it to bring out what they really want the audience to understand: how hypocrisy, power and religion can corrupt even those at the top.



Company: Carnegie18
Review Date: Saturday 04 February 2012
Presented By: The Arts Centre, Melbourne
Directed By: Michael Gurr
Venue: Fairfax Studio, Arts Centre, Melbourne
Opening Date: 04/02/2012
Closing Date: 07/02/2012

Andrew “Drew” Lane was born in Melbourne, and began playing piano at the age of four. At age 15, he began to write his own material, and was also introduced to musical theatre via shows such as Starlight Express, Les Miserables and Time. From that moment on, Drew was actively involved in musical theatre at a rehearsal pianist, musical director, or on stage performer. In 1992, Drew composed his first musical for high school, Back Streets, and in 1994, Drew was accepted into the Ballarat Academy of Performing Arts, where he honed his skills, not only as a composer, but also as a performer. Gaining valuable experience on stage and behind the scenes helped him to realise his next musical, Atlantis. A workshop production was staged for the Ballarat Opera Festival in 1996 and gained rave reviews. In the following years, Drew took up teaching but was also able to regularly composer and stage his own productions including Eva’s Wish (1997, Anacortes, WA, USA), Revelations (1998, Touring, Victoria, Australia), and Toys (1999, Bendigo, Victoria, Australia). In 2010, Drew's musical Marking Life was chosen to be part of the Festival of Broadway, hosted by the University of Tasmania, and was performed for Steven Schwartz (Wicked, Godspell, Pippin). A prolific composer, Drew hopes to be able to take his musicals to Off-Broadway or the West End, and believes that his best writing is yet to come. He is presently completing his Master’s degree in Performing Arts, and has several new musicals presently in development. Drew is proud to be a regular contributor to AussieTheatre.com and looks forward to hearing from all of his readers!

Drew has written 33 articles on AussieTheatre | Read more articles by