Featuring Sacred Harp, otherwise known as shape-note or fasola, singing, The Hall is a moving and superbly executed offering. It involves a community choir delivering a capella in four-part harmony. The story concerns three members of a family. Tup (Natasha Herbert) has been diagnosed with Stage 4 frontotemporal dementia. She is incontinent and prone to fits of pique. Her carer is her daughter Alison (Brooke Lee), who frequently calls upon her kindly 15-year-old transgender child Billie (Emmanuelle Mattana) to lend a helping hand. They do so willingly and dearly love their gran.
Times are tough, money is tight and simply coping is mighty hard. Tup (named after one of the quintessential references in the film Mary Poppins) used to sell vintage clothing and loved singing in the church hall. Alison’s father wasn’t around, so Tup brought up Alison alone. Dutiful Billie suffers panic attacks and is keen to start their own Tik Tok channel. In trying to find ways of reaching Tup, Alison looks to connect with former members of Tup’s old singing group. When that doesn’t work out the way she envisaged, her attention turns further afield … to no lesser place than Cork in Ireland and a grand adventure begins.
Writer Ro Bright has crafted a slice of life piece that instantly resonates. The harsh reality presented is both brutal and poignant. The issue is how to make the most of an invidious situation, in which making through each day can be so taxing … and yet there is no let up. Pat Irwin’s musical bed adds a soulful dimension that unquestionably elevates the work. The actors do a marvellous job breathing life into such a tragic story.
As Tup, Natasha Herbert is tightly wound and ready to explode at a moment’s notice. Brooke Lee plays Alison as doing the best she can under arduous circumstances. That also means that Alison can get overwhelmed and frustrated. Emmanuelle Mattana is the epitome of warmth and love as Billie. The latter is a bundle of joy who, arguably, has had to grow up too fast, while trying to handle their own challenges. Around these three actors are eight others, led by musical director Rachel Lewindon, who constitute The Hall choir. They include Marty Alix, who also assumes the role of a doctor tending to the family’s needs.
I am deeply impressed by the sensibility and sensitivity that director Kitan Petkovski has brought to bear. The costuming choices by set and costume designer Bethany J. Fellows bring with them intimacy, as does staging the piece as theatre in the round. I found myself heavily invested in The Hall, which further benefits from the sound design by Daniel Gigliotti and Amelia Lever-Davidson’s lighting design. Seventy-five minutes in length, it is a special, heartfelt and relatable production at fortyfivedownstairs until 1st December, 2024.
