Musical review: Women on the Verge of a Nervous Breakdown, The Hayes Theatre

Women on the Verge of a Nervous Breakdown is an adaptation of Spanish writer-director Pedro Almodóvar’s 1988 black comedy. The film, a dark comedy, had outstanding box office success. This musical adaptation, written by Jeffrey Lane and featuring music/lyrics by David Yazbek, has not shared the same joy. The production initially opened on Broadway in 2010 and closed only a few months later due to a lack of audience interest and low critical acclaim. So, it’s a tall order for Alexander Berlage, the director of Pinwheel Productions’ remount of Women on the Verge of a Nervous Breakdown in association with The Hayes Theatre, to turn such negativity around.

The plot centres around actor, Pepa (Amy Hack), who receives a voice message from her lover, Ivan (Andrew Cutcliffe), telling her that their relationship is over. This news sends Pepa into an emotional spiral – she is frustrated, sad and confused. Due to the way Ivan has dumped her there is no closure, so she tries to contact him. Instead, she is met with obstacles, mostly in the form of random characters. These characters include a taxi driver, Ivan’s son and his fiancé, Ivan’s ex-wife, Ivan’s new lover, the police and Pepa’s friend, Candela.

The style is absurdist comedy and the theme running through the production is that ‘men’, especially ‘dishonest womanising men’ like Ivan, have the power to ruin women’s lives. The subtext is that men have access to this power because women are crazy and flawed. That is, the production portrays women as emotional, melodramatic, dizzy and irrational; as being so neurotic that their own sanity depends on the stability of the relationships they forge with men.

While this theme continues during the entire production, there is somewhat of reversal by the end, when the central female characters identify a future that involves existing without being dependent on men. However, at this point the reversal is disproportionate, it doesn’t feel like it is enough to compensate for the way women have been represented before this occurs.

Good performances are provided by all actors; however, the problems that exist within the show itself are not overcome by them. The characters are presented as caricatures, requiring each performer to adopt an over-the-top fake Spanish accent or other peculiar derivation. This makes it difficult to understand them, especially when they perform songs, but it also makes it difficult to build empathy with them due to the glaring lack of authenticity. The overall result is that there is a lack of opportunity for the actors to affect the audience, even when they are sharing heartfelt experiences.

The premise of sending up Spanish women in the 1980s feels dated and out of touch – like a sketch on Saturday Night Live that extends for over two hours.

At other times the performances lack comedic timing, an impression this is not helped by the flawed score and lyrics which are not always comprehensible. To put it simply, the music lacks complexity – it is not always articulate, entertaining or catchy.  

The set is vibrant and colourful with an eclectic arrangement of props including a zebra, phone box, traffic lights, bed and lounge. The performance space is surrounded by a backdrop of full-length purple, red and pink ribbons which run from floor to ceiling. This is complimented by warm, active and vibrant lighting, conveying absurdity, energy and passion.

A crafty addition to the production is a neon sign which changes to inform the audience about the location of the scenes taking place on stage. This provides a continuity to the narrative that would be lost without it.

There are some successful pockets within the show, such as when Pepa desperately tries to check her answering machine to find out if Ivan has contacted her but instead is hit with endless exaggerated messages from her very needy friend, Candela.

Read: Dance review: Blue, Playhouse Theatre, QPAC

The Hayes Theatre is a modern and appealing playhouse with elevated seating that descends to stage level and a tight seating capacity of about 111. The production features a scene where Pepa sets fire to her bed; this fire is extinguished, but the simulated smoke remains in the air masking the stage. Unfortunately, this fire is not effective, it adds little quality to the performance and instead creates a sense of trepidation for the audience with their thoughts turning to the lack of an escape route if the stunt were to backfire.

The production moves at a fast, erratic pace and includes nonsensical and camp elements; there are clever elements of dark humour, wit and perceptive one-liners. It will suit an audience who appreciates these qualities delivered by talented actors, but for this reviewer the production has not overcome its inherent flaws and misses the mark.  

Women on the Verge of a Nervous Breakdown
Based on the film Mujeres al borde de un ataque de nervios by Pedro Almodóvar
The Hayes Theatre, Potts Point
Production Company: Pinwheel Productions
Writer: Jeffrey Lane
Music and Lyrics: David Yazbek
Director: Alexander Berlage
Choreographer: Chiara Assetta
Musical Director: Dylan Pollard
Set Designer: Hailley Hunt
Costume Designer: Sam Hernadez
Lighting Designer: Phoebe Pilcher
Sound Designer: Em-Jay Dwyer
Assistant Director: Monica Sayers
Assistant Choreographer: Carla Venezia
Assistant Costume Designer: Emma Fitzgerald
Production Manager: Angus Crampton
Stage Manager: Cindy Cavero
Assistant Stage Manager: Hana Barn
Senior Producer: Kaleigh Giles
Casting Producer: Sonia Dodd
Producer: Laura Campbell
Musicians: Hazel Alexander, Jason Smith, Tom McCracken, Cypress Bartlett, Blake Cox and Jack Hawthorne
Cast: Amy Hack, Tisha Kelemen, Grace Driscoll, Tomáš Kantor, Sean Sinclair, Nina Carcione, Melissa Russo, Aaron Robuck and Andrew Cutcliffe.

Tickets: $69 – $99

Women on the Verge of a Nervous Breakdown will be performed until 8 June 2025.