Directed and scored by Betsey Bircumshaw and Mei Spice, Hilda’s Haven is a tale of community and courage among women as they reckon with their hopes and dreams. It makes for a clever and engaging musical, seamlessly blending humour with emotion. The icing on the cake was the songs: well written and moving, if at times repetitive, and complemented by brilliant performances all round.
Beneath their exteriors, each character within Hilda’s Haven has their own unknown worries. It is their pains that have led them to fall into a general darkness. Screams can be heard offstage several times throughout the performance, brief glimpses into their inner worlds, and their position on the edge of collapse. Overloaded with work, losing a lover, missed self-realization: these terrible problems can often surround people in reality. They are not controlled by internal hierarchies within society and whether you are rich or poor, young or old, the suffering is shared out equally. These are, in short, problems that every ordinary person can come across.
Within the world of the musical, the character of Myles (Erin Walfisz) might be the only exception. It’s certainly easy to be blinded by the brightness of her outfit, the colourful patterns showing off her radiant character. A yoga teacher, within the heart and soul of the retreat, she’s also gifted with an insight into the others and tries to turn them to the healing nature, like flowers to sunshine.
Besides Myles, everyone who joins the retreat camp harbours their own concerns. One is too sensitive to open her mind, while another wears a powerful mask of stability that hides her anxiety and helplessness. The life of the only older woman, Maggie, remains in flux. On the one hand, she holds onto stodgy thinking, and refuses to change herself. On the other, there are still glimpses of her unexpected vitality.
The best part of the musical is these characters’ initiative and bravery, and their daring in challenging their position and seeking help. Although some often expose their own reluctance, each person that joins in the yoga retreat camp has the ability to recognise the urgency of fighting against anxieties, loneliness, and other ‘bad’ feelings. Over the course of the story these characters come to realize that they need to unleash themselves from the limitations they have created. They come to connect with each other closely, and by removing the barriers between them, they are able to share their vulnerable emotions. Nearly every character has their own personal monologue. But rather than being lonely, these only emphasise how connected they are.
The relationship between Maggie (Esme Redrup) and Myles left a deep impression on me in particular. As the only older character in the production, Maggie represents an old school: walling herself in with alcohol and cigarettes and endless complaints. Myles represents a totally different spirit and, while the generational gap creates a huge divide, she eventually wears down Maggie’s traditions with her vibrancy. Maggie is inspired by Myles’ new ideas, eventually learning to show her genuine feelings and take down her defences.
“Why an all female cast?”
The question came from a male audience member during the interval. The co-director Betsey Bircumshaw explained that they had structured the musical around women coming to understand themselves through their sisterhood with one another. They were attempting to show the power, beauty and nuance within women – representing how diverse they can be. Nevertheless, the production is not completely exclusionary, and there are male members included in the band and the production team.
Moving away from more traditional staging, Hilda’s Haven uses a T-platform stage to restructure the relationship between characters and audience. The audience sits on the two sides of the stage while the actors appear from various direction, at times through a black curtain. Any concept of a wall at the edge of the stage, a barrier between the audience and the world of the musical, was shattered. Bircumshaw confirmed that it was an initiative to get the audience involved, encouraging them to feel as though the events of the story were taking place among them.
Hilda’s Haven is not a utopia, offering a natural paradise for depressed people looking to escape their lives. Instead it takes the audience along the convoluted journey of the self-discovery, ironically dependant on mutual assistance. It is fundamentally a transformation, full of the themes of natural healing and womanhood. The musical itself acts as a network encouraging every character to overcome difficulties while simultaneously inspiring every audience member and strengthening the bonds between them.
