Review: JULIE THE MUSICAL, 53Two
17th century revolutionary Julie D’Aubigny has her eventful and scandalous life story told to the world in new musical Julie: The Musical, which enlightens audiences to the true story of “a worshipped opera singer, renowned swordswoman and a flaming bisexual”.
Julie D’Aubigny was born in the early 1670s in France and was raised by her father, who taught Julie how to swordfight and gamble. She had a marriage arranged for her by her father’s employer Count d’Armagnac in order to cover up the ongoing affair between the two. Julie became D’Armagnac’s mistress while she was still a teenager, but that was only the first in a long list of love affairs that D’Aubigny would have throughout her life. The musical details true events of duels, scandals, travels and love conquests from Julie’s life.
This new musical has been written by Manchester based creative Abey Bradbury who knew that Julie D’Aubigny was destined to be the centre of a musical from the moment she first heard about the iconic bisexual sword fighting opera singer. Bradbury has written the songs of the show, with the assistance of Sophie Coward and Sam Kearney-Edwardes, to include an extremely wide range of music styles which perfectly encapsulates the chaos of Julie’s life. Piano accompaniment has been pre-recorded by Bradbury herself, but a variety of instruments to bring the diverse soundtrack to life onstage are played live by the whole cast, bizarrely and brilliantly including the likes of a chorus of kazoos.
Direction is by Mary Barrett-Doyle who has clearly considered the chaotic nature of the show’s score and events of Julie’s life as they have used a variety of performance styles in each scene to heighten the comedic moments of the show as well as mirror the liveliness of Julie’s story. From stand-up comedy and cabaret to a sword fighting tap number, this musical really has it all yet still pieces together excellently.
Writer Abey Bradbury leads the cast as Julie D’Aubigny herself, and is supported by Sam Kearney-Edwardes, Connor Simkins, Sophie Coward, Grant Cartwright and for some performances, super swing Kyanna Cronshaw who is understudy for all of the characters. The cast all work fabulously together and have brilliant chemistry, however there are times when their characters slip slightly due to them finding each other too funny through some of the comedic elements of the show and letting out a few laughs.
The stage is surrounded by a plethora of props and instruments used throughout the show so whilst the set design is quite bare, it works really well since the content of the show is fast paced and bursting with energy, so a detailed set simply isn’t necessary. Although there are still a couple of distractions during the show as the sound tech isn’t quite as slick as desired, this has the opportunity to improve as the tour progresses.
Every performer onstage looks absolutely incredible and chic in an anachronistic queer rococo style with costume design by Abey Bradbury and hair and makeup design by Sam Kearney-Edwardes. It really accentuates how Julie D’Aubigny was larger than life and certainly didn’t blend in or conform to the expectations in 17th century France.
Julie: The Musical is a fantastically eccentric production that entertains and educates audiences at the same time. The world of musical theatre deserves more representation for bisexual members of the LGBT+ community, and Julie: The Musical goes above and beyond to not just give representation, but also celebrates an iconic bisexual historical figure. Beyond the show’s Edinburgh Fringe stint and its UK tour, this musical deserves to been seen by many and serve 17th century queer energy to the world.
**** Four stars
Reviewed by: Jess Dalloway
Julie the Musical will play at the Edinburgh Fringe from 15-27 August, with tickets available here.