REVIEW: Well-Behaved Women — Footlights Theatrical

Well-Behaved Women

Presented by Footlights Theatrical

Directed by: Roslyn Johnson

Musical Director: Nate Stevenson

Vocal Director: Rhea Basha

Photography: Lou Thompson, Deb Mayes

“Well who wants to be the norm? Not me.”

History has a funny habit of remembering the men first. But now, the women grab the microphone, kick the door open, and remind us that history was not made by women who sat quietly in the corner waiting for permission.

Presented by Footlights Theatrical, Well-Behaved Women is a contemporary song cycle celebrating the women who refused to stay small, stay silent, or behave as expected. It has a strong “herstory” energy, with a structure that feels a little like Six, in the sense that it uses original and modern musical styles to spotlight women from history. But rather than following one linear storyline, the production moves through a series of musical portraits, each one giving voice to a different woman, moment, and perspective.

The show celebrates warriors, queens, survivors, artists, athletes, writers, mothers, wives, activists, and politicians. There are famous names, lesser-explored tales, and some unexpected angles along the way. This eclectic scope keeps the format engaging, especially as the production moves between humour, rage, celebration, reflection, and full-throttle “absolutely not sir” energy. The large cast never feels decorative or lost in the crowd, with each performer finding a clear angle on their featured woman. Footlights draws together plenty of familiar Brisbane theatre faces, varied in voice, age, and energy, to form a vibrant showcase of female and non-male talent.

Rhona Bechaz opens the show with sass and cheek as the biblical Eve, decked out in vines and sequins. Her number gives us the lowdown on “what happened in the beginning” with wit, charm, and a dose of holy humour. Fiona Buchanan absolutely slays as Boudicca (and “slays” feels particularly appropriate here). She brings passion and authority to give the Warrior Queen a battle-ready fierceness. Sophia O’Dea shines as Cleopatra, delivering a theatrical command worthy of a queen ('Stay and Fight'). Her mighty voice is imbued with a regal strength to match the magnificence of the legendary Egyptian monarch.

Asabi Goodman as Harriet Tubman offers a more subdued, poetic, and beautiful contrast to some of the show’s louder moments. Her reflective and grounded performance allows the production to have a moment to breathe early on. Naviah Morris delivers a powerful depiction of Grace Tame in 'Smile,' using a wisely calm and soulful sound to express the frustration of marginalised voices trying to be heard. Themes of the Me Too movement are integrated clearly, reminding us that these stories are not only personal but also collective, emphasising the need for solidarity and change. 'Papa, Are You There' sees Priya Shah portray Malala Yousafzai. It opens with a striking rock edge that instantly captures attention and echoes a feeling of determination and resilience. As the song progresses, the gradual addition of instruments from just a piano mirrors her emotional journey, making Priya's solo a compelling tribute to this pivotal moment in Malala's story.

Loretta Melit is a highly compelling storyteller, stepping into the shoes of Virginia Woolf as she pens A Room of One's Own. Her story conjures up the imagined life of Judith Shakespeare, the fictional sister of the Bard. Loretta maintains emotional focus in her 8-minute tale, bringing Judith to life as she battles the frustration and ultimate tragic fate of being a talented and ambitious woman stuck in the shadows of a male-dominated world.

Louella Baldwin's stunning voice adds a bluesy flair to Billie Jean King's song 'Hey Bobby Riggs' with a fiery glint in their eye. It is a story of true gumption, serving as both a protest against the gender inequalities prevalent in sports and society at large, while celebrating the triumphs of women who dared to challenge the status quo. Rhea Basha as Cathy Freeman takes us on a sprint down memory lane, from school sneakers to gold medal glory, as she transforms into a national treasure. It's a lovely inclusion that tugs at the heartstrings, thanks to Rhea's gorgeous tone. Rounding out the sports stars lineup, Hannah Macri and Zara Lassey take a splash in the past as they share a sweet duet as Olympic swimmers Fanny Durack and Mina Wylie in 'The Water is Where'. It’s a tender moment in the show, adding another layer to the historical range of stories.

One of the most fun moments of the show comes from Meg Kiddle, Fiona Kennedy, Deidre Grace, and Sherryl-Lee Secomb taking the stage as the Supreme Court Justices ('Order in the Court'). Their number is playful, rhythmic, and wonderfully connected, blending entertainment with a clever commentary on the judicial system. Hannah Davies gives Mary Magdalene a musical makeover that is fresh and unexpected, with a Southern Belle folk style in 'The Only Girl at the Table' and a toe-tapping rhythm that makes the number an instant crowd-pleaser.

Samantha McLaughlin truly stands out as Julia Gillard in 'Not Now, Not Ever'. They have fully embraced the role and the nuances that define Gillard’s dry public composure, right down to those strong diphthongs. Sam finds the humour without undercutting the gravity of the moment, allowing the audience to appreciate the challenges Gillard faced in office while honouring her leadership, gender, and resilience against adversity. Della Days brings a watchful intelligence to Eleanor Roosevelt in 'Ladies of the Press', capturing a woman who knows exactly how to work a room without needing to shout over it. The number focuses on a specific turning point, showing Eleanor not just as a First Lady, but as someone actively shaping the conversation.

Laura Fois is magnetic in her portrayal of the iconic artist Frida Kahlo. Her performance transcends mere imitation, breathing life into the complex character, who is celebrated for her striking artwork and vibrant personality. Accompanied by the melodies of Spanish guitar, traditional rhythms, and lyrical language, it transports the audience to the heart of Mexico. Laura's impressive vocal control delivers each note with deep feeling and holds our attention with complete ease.

Rowena Orcullo Ryan’s portrayal of Hau Li, Mulan's mother, gives space to a quieter kind of strength. Her performance showcases her soaring vocal abilities through a beautifully crafted interpretation. Through this character, we witness the (often-unseen) struggles and sacrifices that mothers endure in their efforts to support and protect their children. Jeanne Reynolds as Janet Armstrong offers another angle, representing the wife standing in the shadows of Neil Armstrong, and a mother dealing with the heartache of losing a child. Her story 'One Step Closer' reminds us of the women whose lives are shaped around famous men and historic moments. It provides a grounded domestic counterpoint to the more public-facing icons in the show.

Led by Musical Director Nate Stevenson, the five-member band is one of the production’s strongest assets, moving confidently through folk, blues, soul, rock, ballad, and musical theatre styles. The score itself by Carmel Dean is strongest lyrically, with many songs telling each woman’s story quickly and passionately. While not every melody feels equally memorable, the cast and band squeeze every last drop out of the material. Sure, some lyrics are as cheesy as a pizza, but that suits the style and spirit of the show. They are not trying to be cold, aloof, or subtle about its message. It is here to make a point.

Visually, the production supports the song cycle format well. The projections are useful, helping introduce each woman and quickly orient the audience as the show moves from one figure to the next. In a production that covers so much historical ground, those visual aids are helpful (but easier to read when not in cursive). The costumes are not overdone, giving enough visual suggestion without becoming too literal or distracting.

There is a mix of microphone styles used throughout the show, and overall the sound supports the wide variety of styles well. With a cast this large and a score that shifts so often, there is a lot to balance, and the production handles that scope well. The grand finale, 'We Rise', gathers the company together with a strong sense of purpose and celebration. It is the kind of ending that leaves the audience feeling energised, connected, and ready to research at least three women that they somehow never learned about properly in school.

This could have felt like a parade of historical figures, but the cast brilliantly brings out the person inside each portrait. Footlights crafts a lively tribute to those women who made history by refusing to disappear.

After all, well-behaved women seldom make history.