Review: Let Kate guide you on a fun ride through democracy, change and people power

Kate Sheppard (Jane Leonard) and her gang in a scene from That Bloody Woman. Photo / Mark Hamilton

That Bloody Woman, written by Luke Di Somma and Gregory Cooper. Presented by Bold Theatre, directed by Courteney Mayall and Kyle Chuen. At the Meteor Theatre, Hamilton, until September 3. Reviewed by Cate Prestidge

There's a minor stampede on opening night as the eager audience charge the doors and I see the middle bank of seats fill rapidly but fear not, there are good sight lines from all three sections of seating surrounding the stage.

Directors Courteney Mayall and Kyle Chuen, and choreographer Lauren Mann, have used the full extent of the space and directed the action of That Bloody Woman to the audience very effectively.

So, to the story of Kate Sheppard, a woman inspired to improve society, an advocate for political change, and a history-maker. It's told as a series of snapshots along a historical timeline with dollops of romance, conflict, goodies, baddies, highs, and lows, packaged up as a punk rock musical.

The opening song That Bloody Woman is a belter. Performed by the "Gang", a group of 16 energetic performers who menace the stage in all their "punk-rockiness", it builds to the arrival of our heroine, Kate (Jane Leonard). When she glides in, elevated and glimmering in white, rising above her gang of champions, it's classic rock-star stagecraft. Jane Leonard is as assured, confident, humorous, and staunch as Kate and we get the first glimpse of her marvellous big voice.

Leonard's role is huge, driving much of the action but she's well in control switching easily between MC, dialogue and cajoling her crowd. The story relies on Kate as narrator and while I like more "show not tell", the construct drives the action purposefully.

Leonard performs the big numbers with power and control as well as shining in the sorrowful ballad Tempest in your Longing Soul.

Supporting Kate are her best friend Jennie Lovell-Smith (Jessica Ruck Nu'u) and fellow suffragette, Ada Wells (Helen Drysdale-Dunn). Ruck-Nu'u is a delight in a poignant, intimate solo The Man With Two Wives while Drysdale-Dunn's vocal clarity and expression in Quarter Acre Dream is genuinely moving. These two quieter moments were an important contrast, redolent with emotion, and a highlight for me.

Aana Watts stepped into her understudy role as temperance campaigner Mary Leavitt with confidence. The staging of her song Change Doesn't Come for Free showed Leavitt's charisma and influence through wonderful ecclesiastic backlighting.

Nick Wilkinson made a glam-rock entrance as PM Richard "King Dick" Seddon – cue the puns. While Wilkinson brings rather more mobility and sinewy energy to the stout statesman of 1893, his King Dick, supported by his gang of men, thunders with convincing misogyny and aggression.

Kate's girl gang are both her champions and modern-day fan squad. They're fierce and a bit scary, and fabulous, in the way that young women are when they know their own minds so absolutely. The way they commanded the stage was exhausting and inspirational. I loved all of them.

The direction is comprehensive, with every performer in the moment, professional, and fully committed. Mayall and Chuen, along with choreographer Mann, have brought an array of creative skills, solid stagecraft, and most importantly, cohesion to this cast. They all looked like they were having a ball and their energy was huge.

I loved the costuming and classic punk signifiers of tartan, rips, and layers as well as the rock star eyeliners and hair. It was individualistic, but themed, and with small symbols to show character.

Musical director Nick Braae (keyboards) and his band Joseph Brady (bass), Casey Messent (guitar), Kaleesha Messent (drums) and Ruby Messent (guitar) are spread across the back of the stage in a rock concert formation. They have a big sound and are musically tight, and I liked the way they took the spotlight as part of the action.

There were a few issues with volume and audibility on opening night, the occasional mic crackle, and a sense that the band was a bit loud so the lyrics needed to drive the story were sometimes lost. At times the punk aggression directed at the audience was almost too full on, but generally, I liked the way they invited participation, especially in songs like Ah Men led by KM Adams as Vicar.

The crew has worked hard with stage, set, costume, makeup, and lighting all effective and they deserve more praise than one line in a review but be assured, the team behind the scenes is seen.

If you can't tolerate a swear word or two, or even a whole stream of them put to music, then this may not be the show for you. Context is key and you're warned from the start this is a punk rock story, so a stream of swear words here and there is part of the genre.

The authors say that when they wrote the show more than 10 years ago, they wanted people to think about democracy, change, and people power, ideals which are even more to the fore today.

The show has 21 musical numbers and runs for 1 hour 40 with no interval so strap yourselves in. Kate will guide you, it'll be fun and you might even come away with something to think about.